After the success of 1950's Destination Moon and 1951's When Worlds Collide, visionary producer George Pal brought the classic HG Wells story of a Martian invasion to the big screen, and it instantly became a science-fiction classic and winner of the 1953 Academy Award for Best Special Effects. It's a work of frightening imagination, with its manta-ray spaceships armed with cobra-like probes that shoot a white-hot disintegration ray. As formations of alien ships continue to wreak destruction around the globe, the military is helpless to stop this enemy while scientists race to find an effective weapon. Gene Barry and Ann Robinson play the hero and heroine roles that werede rigueur for movies like this in the 50s, and their encounter with one of the Martians is as creepy today as it was in 1953. It finally takes an unseen threat-simple Earth bacteria-to conquer the alien invaders, but not before War of the Worlds has provided a dazzling display of impressive visual and sound effects. This is a movie for the ages, the kind of spectacle that inspired little kids such as Steven Spielberg (not to mention Roland Emmerich and Dean Devlin, whose Independence Day is a remake in all but name) and still packs a punch. -Jeff Shannon, Amazon. com.

Between heroic spells as the Saint and James Bond, Roger Moore was teamed with Tony Curtis in this derivative but fun series about a couple of millionaire dilettante adventurers who swan around the world competing for the attention of beautiful women and getting involved in perplexing mysteries. Moore is Lord Brett Sinclair, an upper crust Brit of impeccable breeding, while Curtis is Danny Wilde, an up-from-the-streets self-made man whose trademark is a pair of brown gloves. The allegedly tasteful Brett and the crasser Danny both model a succession of garish early 70s fashions while their pursuits of duplicitous crumpet usually wind up with the women getting away and the heroes stuck with each other. Given that, this may well be the most blatantly homoerotic of all the buddy television pairings (see the eponymous stars of Starsky and Hutch, Regan and Carter in The Sweeney, Bodie and DoyleThe Professionals) that ran over the screen in the 70s, sublimating their feelings for each other by pulling out their guns and shooting at baddies. Volume One includes: "Overture" which features a gangster who has faked his own death and a brunette with a birthmark, with guest star Imogen (When Dinosaurs Ruled the Earth) Hassall; and "Angie. Angie", which concerns a murder at the Cannes Film Festival, with Larry (F Troop) Storch. -Kim Newman.

It was directed with energetic skill by Top Gun Tony Scott, but this breathtaking 1993 thriller (think of it as an adolescent crime fantasy on steroids) has Quentin Tarantino written all over it. True Romance is really part of a loose trilogy that includes Reservoir Dogs and Pulp Fiction, with a crackling Tarantino screenplay that rides a fine line between raucous comedy and violent excess. Christian Slater plays Clarence, the comic-book lover who meets a beguiling prostitute named Alabama (Patricia Arquette), confronts her vicious pimp (Gary Oldman), and embarks on a cross-country odyssey with $5 million worth of Mafia cocaine. Mayhem ensues, culminating in a favourite Tarantino climax-the "Mexican standoff"-in which a roomful of guys are pointing guns at each other, waiting to see who shoots first. Brutal, profane, and totally outrageous, True Romance is not for everyone, but with a supporting cast that includes Dennis Hopper, Christopher Walken, Brad Pitt, and Val Kilmer (as the ghost of Elvis!), you can be sure this movie will never be boring. -Jeff Shannon It was directed with energetic skill by Top Gun Tony Scott, but t his breathtaking 1993 thriller (think of it as an adolescent crime fantasy on steroids) has Quentin Tarantino written all over it. True Romance is really part of a loose trilogy that includes Reservoir Dogs and Pulp Fiction, with a crackling Tarantino screenplay that rides a fine line between raucous comedy and violent excess. Christian Slater plays Clarence, the comic-book lover who meets a beguiling prostitute named Alabama (Patricia Arquette), confronts her vicious pimp (Gary Oldman), and embarks on a cross-country odyssey with $5 million worth of Mafia cocaine. Mayhem ensues, culminating in a favourite Tarantino climax-the "Mexican standoff"-in which a roomful of guys are pointing guns at each other, waiting to see who shoots first. Brutal, profane, and totally outrageous, True Romance is not for everyone, but with a supporting cast that includes Dennis Hopper, Christopher Walken, Brad Pitt, and Val Kilmer (as the ghost of Elvis!), you can be sure this movie will never be boring. [+]

In one of the many classic collaborations between director Akira Kurosawa and his leading man Toshirô Mifune, this 1958 film tells the story of a warrior and a princess trying against all odds to return to their homeland with their fortune. Along the way, they are simultaneously assisted and thwarted by two itinerant and not-too-bright farmers with their own designs on the treasure, giving the story a subtle comic bent. Acknowledged by George Lucas as the inspiration for Star Wars (note the similarities, especially the comic duo who are the models for R2D2 and C3PO), Hidden Fortress combines an epic tale of struggle and honour with modern comic sensibilities, creating a masterful addition to world cinema. -Robert Lane, Amazon. com.

Rating 18

A great big rock hits the earth, and lots of people die. That's pretty much all there is to Deep Impact, and most of that was in the trailer. Can a major Hollywood movie really squeak by with such a slender excuse for a premise? The old disaster-movie king, cheese-meister Irwin Allen (The Poseidon Adventure, Earthquake), would have made a kitsch classic out of this, with Charlton Heston, rather than a resigned and mumbly Robert Duvall, as the veteran astronaut who risks several lives trying to blow up the comet that's headed right this way! As stiffly directed by Mimi Leder, this thick slice of ham errs on the side of solemnity. It may be the most earnest end-of-the-world picture since Stanley Kramer's atomic-doom drama On the Beach. There are a couple of classic melodramatic flourishes: an estranged father and daughter who share a tearful reconciliation as a Godzilla-sized tidal wave looms on the horizon; and an astronaut, communicating on video with his loved ones back on Earth, who follows whispered instructions from a buddy lurking just off camera-so that his little girl won't realise that he's been struck blind. Deep Impact stars Morgan Freeman as the president of the United States. -David Chute.

During the Civil War, Union "Redlegs" attack Southerner Josey Wales's dirt farm and wipe out his family. Seeking vengeance, Wales throws in with a company of Reb guerrillas. Tagged as a renegade after the surrender, he flees west into the vastness of the Indian Territories, where, quite unintentionally, he finds himself cast as the straight-shooting paterfamilias of an ever-growing, spectacularly motley community of misfits and castaways. Which is to say, Josey's personal quest for survival and something like peace of mind evolves into a funky, multicultural allegory of the healing of America. The Outlaw Josey Wales (1976), Clint Eastwood's 31st film as an actor, 20th as international star, and 5th as director, was the first to win him widespread respect. Critics had grumbled when the producer-star replaced Philip Kaufman (The Right Stuff) in the director's chair a week into shooting. They ended up cheering when Eastwood delivered both his most sympathetic performance to date and-with the heroic collaboration of cinematographer Bruce Surtees-an impressive Panavision epic that stresses the scruffiness, rather than the scenic splendours, of frontier life. Though it's been honoured with a place in the National Film Registry, Josey Wales is good, not great, Eastwood. The big-gun fetishism can get tiresome, and too many characters exist only to serve as six-gun (and at one point Gatling gun) fodder. But mostly the film is agreeably eccentric, and almost furtively sweet in spirit-a key transitional title in the Eastwood filmography, and one of his most entertaining. [+]

A flawed but stylish adaptation of the Chester Gould comic strip by director Warren Beatty, who also stars in the title role. The minimalist plot involves a battalion of baddies who confront the intrepid detective in a series of strung-together vignettes. Al Pacino is a comedic if overblown standout as Big Boy Caprice and Madonna simply smoulders as aggressive blonde bombshell Breathless Mahoney. It matters not that the plot is Spartan, as this dazzling eye candy is much enhanced by Stephen Sondheim's songs, including the Academy Award-winning ditty, "Sooner or Later (I Always Get My Man)". Beatty took his cue from the source material and concentrated on the relationships between these people, whether strained, romantic or hateful. The performances are subtle and more amusing than you would expect from such a visually bold picture. Shot in bright, primary colours, this also won Oscars for Best Art/Set Direction and Makeup (for those inventively hideous criminals). Watch for well-known names, such as Dustin Hoffman and Dick Van Dyke, in cameo appearances and supporting roles. -Rochelle O'Gorman.

This curiously overlooked drama from Clint Eastwood, released just after his Oscar triumph with Unforgiven, concerns a prisoner (Kevin Costner) on the run with a kidnapped young boy as protection and the Texas Ranger (Eastwood) and federal agent (Laura Dern) on his tail. Eastwood manages a number of nice touches-the boy's innocence is nicely contrasted with Costner's soft-spoken desperado by the Casper Halloween costume he wears and the law-enforcement officials look vaguely foolish, travelling around the countryside with a high-tech camper in tow. Eastwood gives a grizzled performance that, despite its seen-it-all surface, still feels fresh after all these years, and he coaxes surprisingly sensitive work out of Costner. But it's the sheer, modest scale of this piece that makes it so disarming-no planet lies in jeopardy, there are no cosmic make-or-break consequences here, just committed people doing their job and a well-meaning bad guy hoping things don't get too out of hand while he prevents them from doing so. -David Kronke.

RoboCop 2 isn't just the title of the first sequel to RoboCop but refers, in a plot prefiguring Terminator 2: Judgment Day (1991), to a second, more powerful cyborg introduced as an adversary to the tin-can man played to perfection by Peter Weller. Generally dismissed by most fans, here director Irvin Kershner does much the same job as he did with the first Star Wars sequel, The Empire Strikes Back (1980), which is to make a darker and in some ways more involving follow-up. Nancy Allen returns from the original as RoboCop's policewoman sidekick and Kershner sticks to the jet-black satire and ruthless comic-book morality of the original, making this a rarity for Hollywood: a multi-million-dollar franchise movie anti-capitalist assault on the "greed is good" mentality of the Regan era. There's even a hilariously prescient dig at the way the studio would eventually dumb the series down into family-friendly fodder, a process that began with the immediate sequel, RoboCop 3 (1993). Action is to the fore and among the spectacular set-pieces and furious carnage RoboCop 2 offers a last stand before digital effects took over for some excellent stop-motion animation for RoboCop's psychotic new foe. On the DVD: this is a perfunctory release with nothing in the way of extras bar the original trailer presented cropped to 4:3. Fortunately the 1. 77:1 picture on the main feature is excellent, with minimal grain, strong colours and plenty of detail. The sound, though four-channel Dolby Prologic rather than Dolby Digital, is likewise excellent, with every word clear and gunshots, explosions and pulsating score combining to full cacophonic blockbuster effect. The disc also contains dubbed versions in Italian, French and Spanish, as well as a vast selection of subtitles. [+]

A man named Clint enters a solar-powered van called Vandora into a competition called Freakout.

audie murphy is jesse james in this western adventure.

An early example of the techno-thriller, The Anderson Tapes-sharply directed by Sidney Lumet from the novel by Lawrence Sanders-follows just-out-of-stir Duke Anderson (a balding Sean Connery) as he plots the heist of an entire New York apartment building, enlisting a crew that includes Martin Balsam as a vintage 1971 gay stereotype and a very young Christopher Walken in perhaps the first of his jittery crook roles. The gimmick is that Anderson has been out of circulation so long that he doesn't realise his mafia backers are only supporting him because they feel nostalgic for the days before they were boring businessmen and that the whole setup is monitored by a criss-crossing selection of government and private agencies who don't care enough to thwart the robbery, which instead becomes unglued thanks to a gutsy young radio ham. With a cool Quincy Jones score, very tight editing, a lot of spot-on cameo performances from the likes of Ralph Meeker as a patient cop, this hasn't dated a bit: it's wry without being jokey and suspenseful without undue contrivance. On the DVD The Anderson Tapes offers a nice anamorphic transfer, a few trailers and various foreign language options. -Kim Newman.