Tina Long, a woman karate fighter, goes to Tokyo to find her brother, a narcotics agent who has mysteriously disappeared while investigating a narcotics ring. She visits a former karate teacher, who was helping her brother before he disappeared. He introduces her to another woman karate master and Sonny Hibaki (the spectacular Sonny Chiba), a super karate master and Ninja - a fighter who can become invisible! They offer to help Tina.

Great adventure yarn based on an Edgar Alan Poe story and directed by a top international director. A cast giving it everything and some excellent sets make for a very enjoyable film.

With The Lord of the Rings: The Two Towers, the focus of Tolkien's epic story moves from the fantastic to the mythic, from magic and monsters towards men and their deeds, as the expanding panorama of Middle-earth introduces us to the Viking-like Riders of Rohan and the men of Gondor. Which is not to say that Peter Jackson's three-hour second instalment doesn't have its fair share of amazing new creatures-here we meet Wargs, Oliphaunts and winged Nazgul, to name three-just that the film is concerned more with myth-making on a heroic scale than the wide-eyed wonder of The Fellowship of the Ring. There's no time for recapitulation, as a host of new characters are introduced in rapid succession. In Rohan we meet the initially moribund King Theoden (Bernard Hill); his treacherous advisor Grima Wormtongue (Brad Dourif); his feisty niece Eowyn (Miranda Otto); and his strong-willed nephew Eomer (Karl Urban). Faramir (David Wenham), brother of Boromir, is the other principal human addition to the cast. The hobbits, though, encounter the two most remarkable new characters, both of whom are digitally generated: in Fangorn Forest, Merry and Pippin are literally carried away by Treebeard, a dignified old Ent; while Frodo and Sam capture the duplicitous Gollum, whose fate is inextricably intertwined with that of the Ring. The film stands or falls with Gollum. If the characterisation had gone the way of Jar Jar Binks, The Two Towers would have been ruined, notwithstanding all the spectacle and grandeur of the rest. But Gollum is a triumph, a tribute both to the computer animators and the motion-captured performance of Andy Serkis: his "dialogues", delivered theatre-like direct to the audience, are a masterstroke. Here and elsewhere Jackson is unafraid to make changes to the story line, bringing Frodo and Sam to Osgiliath, for example, or tipping Aragorn over a cliff. [+]

Sumptuous in every way, visually magnificent, with grandiose sets, panoramic Spanish vistas and intricately detailed costumes, possessor of one of cinema's greatest music scores, boasting vast and astonishingly kinetic battles, and breathing heroic virtue in every scene, El Cid is the very epitome of epic. For this reworking of the medieval legend of the Cid (Arabic for "Lord") who united warring factions and saved 11th-century Spain from invasion, producer Samuel Bronston and director Anthony Mann insisted every set had to be created from scratch, every costume specially made for this movie alone; they also shot entirely on location in La Mancha and along the Mediterranean coast of Spain to enhance the film's authenticity. The cinematography is saturated with the burnished hues of the Spanish landscape, as are the palatial sets and rich costumes; Miklos Rozsa's resplendent score is also the result of painstaking research into medieval Spanish sources. The screenplay is imbued with knightly gravitas and more than a little salvation imagery, from the opening scene of the young Rodrigo rescuing a cross from a burning church, to the movie's indelible finale as The Cid rides "out of the gates of history into legend". Charlton Heston is at his most indomitable as Rodrigo, "The Cid", a natural leader of men and the embodiment of every manly virtue (note that he fathers twins-a sure token of his virility); Sophie Loren is ravishing as Chimene, the woman whose love for Rodrigo conflicts with her filial instincts after he kills her father, the king's champion, over a point of honour. Their scenes together create a humane warmth at the heart of this vast movie: the moment when Chimene finally declares her love (beneath a shrine of three crosses-more symbolism) to the exiled Rodrigo forms a pivotal and very intimate centrepiece. Shortly thereafter he must rise from their rural marriage bed to lead his followers into battle, and the tension between his public and private lives adds a piquancy to the film's stunning battle sequences. The international supporting cast sometimes look like makeweights, especially when chewing on the occasionally stilted dialogue, but any such faults are easily forgiven as the scale and spectacle of El Cid carries the viewer away on a tide of chivalry. -Mark Walker.

The third instalment in the cinematic incarnation of Tom Clancy's CIA analyst Jack Ryan and the second starring Harrison Ford, this follow-up to Patriot Games is a more complex, rewarding and bolder film than its predecessor. Ford returns as Ryan, this time embroiled in a failed White House bid to wipe out a Colombian drug cartel and cover up the mess. The script, by Clancy and John Milius (Big Wednesday), has an air of true adventure about it as Ryan places himself in harm's way to extract covert soldiers abandoned in a Latin American jungle. There are a couple of remarkable set pieces expertly handled by Patriot Games director Phillip Noyce, especially a shocking scene involving an ambush on Ryan's car in an alley. The supporting cast is superb, including Willem Dafoe as the soldiers' leader, Henry Czerny as Ryan's enemy at the CIA, Joaquim de Almeida as a smooth-talking villain, Ann Magnuson as an unwitting confederate in international crime, and James Earl Jones as Ryan's dying boss. -Tom Keogh.

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. [+]