In Where the Money Is Linda Fiorentino is her lean, sexy self as Carol, a former prom queen who's grown up to be a nurse in an old-age home, which isn't quite what she imagined her future would be. She's married to her prom king, Wayne (Dermot Mulroney), who's grown a little dull. Then Henry (Paul Newman) gets delivered into her care. He's an imprisoned bank robber who has had a stroke. Or has he? Carol begins to try to suss him out, even going so far as to straddle him in his wheelchair and fondle his ears, but it's not until she pushes him into a reservoir that he breaks his masquerade. Carol, desperate to get some excitement in her life, convinces Henry to pull a job with her. She starts casing banks and scoping out armoured cars. When Wayne gets jealous of the time she's spending with Henry, he gets pulled into the deal-and a heist is underway. What makes Where the Money Is click isn't the fairly standard plot, it's the character details. Written in part by E Max Frye-who wrote Something Wild (one of the best and most unappreciated movies of the 1980s)-the film consistently manages to give every character, no matter how small, something that makes them seem real. [+]

Everything clicked in this 1994 action hit, from the premise (a city bus has to keep moving at 50 mph or blow up) to the two leads (the usually inscrutable Keanu Reeves and the cute-as-a-button Sandra Bullock) to the villain (Dennis Hopper in psycho mode) to the director (Jan De Bont, who made this film hit the ground running with an edge-of-your-seat opening sequence on a broken elevator). This is the sort of movie that becomes a prototype for a thousand lesser films (including De Bont's lousy sequel, Speed 2: Cruise Control), but Speed really is a one-of-a-kind experience almost anyone can enjoy. -Tom Keogh, Amazon. com.

The sequel to the 1987 FBI action comedy, Another Stakeout sees the unlikely crime-fighting duo, again played by Richard Dreyfuss and Emilio Estevez, getting involved in, well, another stakeout. This time they are joined by Rosie O'Donnell (one of the comedienne's first film roles) as assistant DA and have to masquerade as the perfect nuclear family to flush out a star witness in their case against the mob. Pretty much the entire cast and crew from Stakeout are reunited by director John Badham for the sequel and, luckily, there is enough new material, slapstick comedy moments and solid performances from the trio of stars to ensure that this isn't just a rehash of the original. The film has a few laugh-out-loud moments, such as the dinner party the bogus family throw so that they can get the couple next door out of the house to enable Estevez to bug it, and there is a brilliant cameo performance from Dennis Farina (Get Shorty, Snatch) as the clueless next-door neighbour. This is not a classic by any means but is entertaining nonetheless. -Kristen Bowditch.

Like the Greenwich Village courtyard view from its titular portal, Alfred Hitchcock's classic Rear Window is both confined and multileveled: its story and visual perspective are dictated by its protagonist's imprisonment in his apartment, convalescing in a wheelchair, from which both he and the audience observe the lives of his neighbours. Cheerful voyeurism, as well as the behaviour glimpsed among the various tenants, affords a droll comic atmosphere that gradually darkens when he sees clues to what may be a murder. Photographer LB "Jeff" Jeffries (James Stewart) is, in fact, a voyeur by trade, a professional photographer sidelined by an accident while on assignment. His immersion in the human drama (and comedy) visible from his window is a by-product of boredom, underlined by the disapproval of his girlfriend, Lisa (Grace Kelly), and a wisecracking visiting nurse (Thelma Ritter). Yet when the invalid wife of Lars Thorwald (Raymond Burr) disappears, Jeff enlists the two women to help him to determine whether she's really left town, as Thorwald insists, or been murdered. Hitchcock scholar Donald Spoto convincingly argues that the crime at the centre of this mystery is the MacGuffin-a mere pretext-in a film that's more interested in the implications of Jeff's sentinel perspective. We actually learn more about the lives of the other neighbours (given generic names by Jeff, even as he's drawn into their lives) he, and we, watch undetected than we do the putative murderer and his victim. Jeff's evident fear of intimacy and commitment with the elegant, adoring Lisa provides the other vital thread to the script, one woven not only into the couple's own relationship, but reflected and even commented upon through the various neighbours' lives. At a minimum, Hitchcock's skill at making us accomplices to Jeff's spying, coupled with an ingenious escalation of suspense as the teasingly vague evidence coalesces into ominous proof, deliver a superb thriller spiked with droll humour, right up to its nail-biting, nightmarish climax. At deeper levels, however, Rear Window plumbs issues of moral responsibility and emotional honesty, while offering further proof (were any needed) of the director's brilliance as a visual storyteller. [+]

In the spy-crazed film world of the 1960s, Len Deighton's antihero Harry Palmer burst onto the scene as an antidote to the James Bond films. Here was a British spy who had a working-class accent and horn-rimmed glasses and above all really didn't want to be a spy in the first place. As portrayed by Michael Caine, Palmer was the perfect antithesis to Sean Connery's 007. Unlike that of his globetrotting spy cousin, Palmer's beat is cold, rainy, dreary London, where he spends his days and nights in unheated flats spying on subversives. He does charm one lady, but she's no Pussy Galore, just a civil servant he works with, sent to keep an eye on him. Eventually he's assigned to get to the bottom of the kidnapping and subsequent "brain draining" of a nuclear physicist, all the while being reminded by his superiors that it's this or prison. Things begin to get pretty hairy for Harry. Produced by Harry Saltzman in his spare time between Bond movies, the film also features a haunting score by another Bond veteran, composer John Barry. -Kristian St. Clair, Amazon. [+]

In The Edge writer David Mamet created two engrossing and memorable characters; an urbane fashion photographer played by Alec Baldwin and a reserved and intellectual billionaire played by Anthony Hopkins. They find themselves teamed up against both a giant Kodiak bear and their own inner demons, when lost together in the Alaskan wilderness. The subject matter includes male rivalry, the isolationism of extreme wealth and, most conspicuously, the survival of the fittest. Mamet's script, which sounds a little too arched in spots, is well served by New Zealand director Lee Tamahori, who knows how to capture beauty and brutality in one frame. Although the themes are enormous in scope, they are well balanced and one rarely overpowers the other, nor does the achingly beautiful scenery overshadow the acting. Even if you don't like the intellectualism of the dialogue, there are some great scenes with the bear. -Rochelle O'Gorman, Amazon. com.