Out of Sight was one of the best movies of 1998 but ironically this superior crime comedy was a box-office disappointment. Fortunately the movie can enjoy a long life on home video and DVD, where it can be savoured by anyone who missed its original release. Making one of his strongest films since his 1989 debut Sex, Lies, and Videotape and his recent hit Erin Brockovich, director Steven Soderbergh pays tribute to the signature wit and intricacy of Elmore Leonard's novel, brilliantly adapted by Scott Frank, the gifted screenwriter who previously adapted Leonard's Get Shorty. The movie is primarily a showcase for the talent and chemistry of George Clooney and Jennifer Lopez, respectively playing a career bank robber who has escaped from jail and the federal agent who falls for his charms while tracking him down. Soderbergh directs with confident visual flair, shifting timelines (à la Pulp Fiction) to weave together subplots and maintain vivid focus on Leonard's splendid characters and smooth-as-silk dialogue. While the sexy repartée between Clooney and Lopez recalls the vintage interplay of Humphrey Bogart and Lauren Bacall, Ving Rhames and Steve Zahn add ample comic relief as Clooney's accomplices. Dennis Farina is memorable as Lopez's father and Albert Brooks is almost unrecognisable as a Wall Street crook whose mansion-and a cache of uncut diamonds-provides the setting for the film's climactic caper. As orchestrated by Soderbergh, the film offers a feast of plot twists and surprises but it never loses track of its delightful characters and the clever wit that brings them so vividly to life. -Jeff Shannon.

Fifteen years after John Carpenter squandered a great idea on a mediocre movie (Escape from New York), he does it again-this time on the Left Coast. Kurt Russell is back as the terminally cynical one-eyed action hero Snake Plissken who, this time, has been coerced into saving the world in Los Angeles. It's 2013 and L. A. is now an island maximum-security prison off the coast of California. Snake has 10 hours to find a doomsday weapon that's fallen into the hands of revolutionaries before he dies of a virus with which he's been injected. But the action is clumsy and unimaginative: lots of shootouts and very little suspense. Even the bad guys aren't particularly inventive; only Pam Grier, as a transsexual gang leader, strikes any sparks. Russell growls his way through the role but can only blame himself: He cowrote the script with Carpenter. -Marshall Fine.

Fire Walk With Me is a rare spin-off that refuses to repeat what worked on TV. Despite mannerisms and "draggy" spots, Twin Peaks emerged as one of the wonders of American TV: scary and funny, erotic and serious, offensive and freakish. It meandered in an always interesting but sometimes frustrating way through two seasons, then signed off with a cliff-hanger upon cancellation. When Lynch announced he would continue the saga with a theatrical movie, fans assumed he would: (a) pull out the stops to show what evils really lurked behind the pretty façade of that small town, and (b) wrap up a storyline which tailed off with Agent Dale Cooper (Kyle MacLachlan) possessed by the evil spirit "Bob". As it happens, Lynch delivered on (a) but refrained from fulfilling clause (b), opting to do a prequel-adapted in part from The Secret Diary of Laura Palmer, a tie-in novel by Jennifer (Boxing Helena) Lynch-which sets up the series by following the last week in the life of the "prom queen from Hell". Fire Walk With Me assumes you will be familiar with the series (some bits are incomprehensible unless you paid attention while other bits are just incomprehensible), making it most accessible to Twin Peaks initiates though sometimes deliberately offensive to them. It then omits several of the show's stars (Michael Ontkean, Richard Beymer, Joan Chen, Sherilyn Fenn) and a great many of the "lovable" aspects (wry jokes, damn fine coffee), relegating MacLachlan to a walk-on since the story happens before Cooper was assigned to Twin Peaks. Some instances of joyless sex and violence exceed anything Lynch could do on television, but for the most part he creates an atmosphere of dread through edgy performances, unsettling lighting and sound effects and sheer grimness. Without the catchphrases and the quirky charm, the film never feels cuddly in the way the TV show did, but it is one of Lynch's finest works and, though deeply uncomfortable, a TV spin-off which ranks with the best in both media. On the DVD: The DVD is Region 0 with a widescreen print, augmented for 16x9 televisions. [+]

In the first Prime Suspect, Helen Mirren's ballsy woman Detective Chief Inspector Jane Tennyson battled the boys club and their sexist barbs to prove herself in a chauvinist department. In Prime Suspect 2, she's assigned to head a racially charged murder investigation in a largely African/Caribbean neighbourhood. It's politics as usual in the image-conscious organization, so the superintendent adds to the team black Detective Robert Oswalde (Colin Salma), a sharp but hot-headed investigator who has just broken off an affair with Tennyson. Now Tennyson grapples with her own conflicted feelings while fighting political and public-relations battles both in the media and within the police system itself in the midst of investigating the labyrinthine case. Between the scant clues left to sift, a prime suspect on the verge of death himself and divisions in her own team that result in a devastating death, Tennyson soon begins to suspect she's been hung out to dry by the department. Screenwriter Allan Cubitt dives into the murky waters of volatile racial and social relations to create an even more complex and compelling mystery in Tennyson's second appearance and Mirren rises to the challenge to explore the contradictions of an uncompromising cop in a compromising position. -Sean Axmaker In Prime Suspect 2, Helen Mirren's ballsy woman detective chief inspector Jane Tennison is assigned to head a racially charged murder investigation in a largely African / Caribbean neighbourhood. It's politics as usual in the image-conscious organisation, so the superintendent adds to the team black detective Robert Oswalde (Colin Salma), a sharp but hot-headed investigator who has just broken off an affair with Tennison. Now she has to grapple with her own conflicting feelings while fighting political and public-relations battles both in the media and within the police system itself as she investigates the labyrinthine case. Given scant clues left to sift, a prime suspect who's almost dead and divisions in her own team that result in a devastating death, Tennison soon begins to suspect she's been hung out to dry by the department. [+]

Leave it to the wildly inventive Coen brothers (Joel directs, Ethan produces, they both write) to concoct a fiendishly clever kidnap caper that's simultaneously a comedy of errors, a Midwestern satire, a taut suspense thriller and a violent tale of criminal misfortune. It all begins when a hapless car salesman (played to perfection by William H. Macy) ineptly orchestrates the kidnapping of his own wife. The plan goes horribly awry in the hands of bumbling bad guys Steve Buscemi and Peter Stormare (one of them being described by a local girl as "kinda funny lookin'" and "not circumcised"), and the pregnant sheriff of Brainerd, Minnesota, (played exquisitely by Frances McDormand in an Oscar-winning role) is suddenly faced with a case of multiple murders. Her investigation is laced with offbeat observations about life in the rural hinterland of Minnesota and North Dakota, and Fargo embraces its local yokels with affectionate humour. At times shocking and hilarious, Fargo is utterly unique and distinctly American, bearing the unmistakable stamp of its inspired creators. -Jeff Shannon, Amazon. com Leave it to the wildly inventive Coen brothers to concoct a fiendishly clever kidnap caper with Fargo that's simultaneously a comedy of errors, a Midwestern satire, a taut suspense thriller and a violent tale of criminal misfortune. It all begins when a hapless car salesman (played to perfection by William H. Macy) ineptly orchestrates the kidnapping of his own wife. [+]

We have met the enemy, and it is us: when a Martian spacecraft with a terrifying link to the origins of humanity is unearthed beneath a London tube station, only the esteemed Professor Bernard Quatermass can save London's suddenly murderous population from itself. One of the most intelligently paranoid science fiction films ever produced, this pessimistic masterpiece functions as a dark flip-side to the relatively optimistic alien-induced evolution theory presented in the later 2001: A Space Odyssey. Nigel Kneale's brilliant script (which posits a surprisingly plausible, otherworldly rationale for the existence of the supernatural) was later appropriated by acknowledged fan John Carpenter for his underrated Prince of Darkness. A must-see for horror and science fiction aficionados. This film is also known as Five Million Years to Earth. -Andrew Wright.