An aging magician harboring a terrible occult secret and his daughter are taken hostage in their isolated mansion by teenage scumbags need- ing a place to hide out. When the captors refuse to listen to the magician's dire warning to release him unharmed, the mansion slowly releases its nightmare of horrors on the unsuspecting invaders.

A young man, short of money, is persuaded into looking after the business of a local drug dealer for a week or two. Up until then, the guy had been an honest and clean of drugs, but when he spends his days surrounded by riches and drugs, he cannot resist. and neither can his addict wife. robby benson(also directs),danny aiello,tawny kitaen. very good condition.

It's enlightening to view Tim Burton's Mars Attacks! as his twisted satire of the blockbuster film Independence Day, which was released earlier the same year, although the movies were in production simultaneously. Burton's eye-popping, schlock tribute to 1950s UFO movies actually plays better on video than it did in cinemas. The idea of invading aliens ray-gunning the big-name movie stars in the cast is a cleverly subversive one, and the bulb-headed, funny-sounding animated Martians are pretty nifty, but it all seemed to be spread thin on the big screen. On video, however, the movie's kooky humour seems a bit more concentrated. The Earth actors (most of whom get zapped or kidnapped for alien science experiments) include Jack Nicholson, Glenn Close, Annette Bening, Pierce Brosnan, Danny DeVito, Martin Short, Sarah Jessica Parker, Rod Steiger, Michael J Fox, Lukas Haas, Jim Brown, Tom Jones and Pam Grier. -Jim Emerson.

This 1967 film took home lots of Oscars for its fascinating drama about a Philadelphia detective (Sidney Poitier) who assists a redneck Southern sheriff (Rod Steiger) in solving a murder. A study in racism that ebbs a bit through the collective and shared need between a black man and a white man who don't want to be working together, In the Heat of the Night continues to strike a chord today. Steiger is a mass of snarling danger, Poitier a bundle of nerves covered in class. Norman Jewison (Moonstruck) directs with a keen feeling for the cultural and social atmosphere of the setting. -Tom Keogh.

Shot in the UFA studios with a big movie star in the lead and all the special effects and production design resources any blockbuster of its time could wish for, FW Murnau's 1926 Faust represents a step up from his better-known Nosferatu. Oddly, Faust is a less familiar film than the vampire quickie and this release affords fans a chance to see what Murnau can do with an equally major fantasy story. Adapted neither from Marlowe's play Dr Faustus nor Goethe's verse drama, the script scrambles various elements of the legend and presents a Faust (Gosta Ekman) driven to summon the Devil by despair as a plague rages through the town, desperate to gain enough learning to help his neighbours. When this deal doesn't quite work out, because he is stoned by townsfolk who notice his sudden fear of the cross, Mephisto (Emil Jannings) offers Faust instead renewed youth and an opportunity to seduce a famously beautiful Italian noblewoman and then to return to his home village and get involved with the pure Gretchen (Camilla Horn). Like most versions of the story, it's episodic and some sections are stronger than others: the great stuff comes in the plague and initial deal sequences, though it picks up again for the tragic climax as Gretchen becomes the central figure and suffers horribly, freezing in the snows and burning at the stake. Jannings' devil, a gruesomely humorous slice of ham, is one of the great silent monster performances, reducing everyone else to a stick figure, and Murnau faces the challenge of topping his Nosferatu imagery by deploying a battalion of effects techniques to depict the many magical journeys, sudden appearances and transformations. On the DVD: Often seen in ragged, incomplete prints projected at the wrong speed, this is a decently restored version, running a full 115 minutes with a complete orchestral score. The original materials show some of the damage to be expected in a film of its vintage, but the transfer is excellent, displaying the imaginative art direction and camerawork to superb advantage. Aside from a nicely eerie menu, the sole extra is a full-length commentary originating in Australia: written by historian Peter Spooner but read by narrator Russell Cawthorne (who mispronounces the odd name). This provides an interesting wealth of background detail, such as Murnau's attempt to cast Hollywood's Lillian Gish as Gretchen, and delivers a balanced assessment of the film itself. [+]

Smart casting and sensible plotting make Behind Enemy Lines an above-average military thriller. Perfectly timed to bolster US patriotism, the film is partly set (during a hypothetical "day after tomorrow") on the aircraft carrier USS Carl Vinson, which was on alert status in the Persian Gulf when this film was released theatrically in the States. Proving his versatility as an unconventional movie star, Owen Wilson plays a navy navigator who is shot down over Bosnia during a reconnaissance mission. Pursued by rebel Serbian forces, Wilson must fight for survival while his commanding officer (Gene Hackman) plots a daredevil rescue. After a successful career in TV commercials, Irish director John Moore makes a promising feature debut on Slovakian locations, borrowing a few techniques from Saving Private Ryan while adding impressive flourishes of his own. The gung-ho ending's a foregone conclusion, but it works like a charm after the movie's exciting game of cat and mouse. -Jeff Shannon.