The director and action-magician John Woo (Face/Off) can always be counted on to create spectacular violent set pieces, with bodies and broken glass gracefully airborne in slow motion. But everything else in this feature-length TV pilot is grindingly conventional. Woo managed to rise above Jean-Claude Van Damme in Hard Target, but there's not much he can do with Dolph Lundgren's Jack Devlin, a kick-boxing former U. S. Marshall turned bodyguard, assigned to guard the body of a drug-addicted supermodel (Kam Heskin, from TV's Sunset Beach). Between shootouts, the elements of the future series are wheeled creakingly into place: a spacious Ikea deluxe apartment with a built-in armoury, a caustic eye-patched sidekick (Saul Rubinek), and even a precocious freckle-faced girl (Padraigin Murphy) who becomes Devlin's stepdaughter, when his best buddy is rubbed out. The gorgeous showdown scene between Devlin and the psycho-stalker bad guy (Phillip MacKenzie) takes place in a milk-bottling plant, with the white stuff splashing all over-but this is TV fare, so there's no red stuff mixed in. Action addicts are advised to stick with the world-class gunplay films of Woo's Hong Kong period, A Better Tomorrow, The Killer, and Hard Boiled. -David Chute.

The husband (Michael Douglas) is a currency trader whose portfolio value is going right down the drain. The wife (Gwyneth Paltrow) is the heiress to a $100 million fortune. The marriage is not a happy one, but the promise of long-term affluence keeps them together. The wife pursues an affair with an artist (Viggo Mortenson) who gives her all the passion she doesn't get at home, and when the husband finds out, well. someone's going to pay with their life. Who will the unlucky one be? We wouldn't dare spoil the elegant plot twists of this devious thriller, but it's well known that Douglas excels at portraying greedy characters with ice in their veins. Here, it's easy to assume that Douglas has pulled off, as the title implies, a killing that nobody will ever pin on him. But this is the kind of glossy thriller (loosely inspired by Alfred Hitchcock's Dial M for Murder) that delights in disrupting your expectations, so it grabs your attention right up to the final scene. [+]

Like many other films by Canadian director David Cronenberg (especially Crash), Dead Ringers presents the cinematic and psychological equivalent of an automobile accident-you dare not look, but you can't turn away. The film marked a directorial breakthrough for Cronenberg, who was able to continue some of the themes explored in his earlier horror films while graduating to a higher, more critically "respectable" level of artistic sophistication. The film is loosely based, amazingly enough, on a true story about twin gynaecologists who routinely traded each others' identities, lives and even lovers. Utilizing innovative split-screen technology (years before computer manipulation made such trickery much easier), the film stars Jeremy Irons in flawless dual roles as the identical brothers Beverly and Elliot Mantle. Their ability to instantly switch identities leads them to a shared relationship with a well-known actress (Genevieve Bujold) and, ultimately, a physical and psychological tailspin that sends them both to the brink of madness and death. The scenario suggests that both men are halves of a whole, and that one cannot exist without the other. But when Beverly pursues a kinky, drug-addicted affair with the actress, his more self-controlled brother is helpless to prevent their mutual decline. In this way Dead Ringers becomes a fascinating and stylistically clinical study of duality, and Cronenberg doesn't shy away from the dark and unpleasant aspects of the story. (One look at the movie's display of bizarre gynaecological instruments and you'll know why women find this film particularly-and unforgettably-disturbing. ) The Criterion Collection DVD includes illuminating commentary by Cronenberg, Irons, production designer Carol Spier and others; extensive production information; interviews with the principal cast; and a detailed examination of the film's groundbreaking use of invisible special effects. [+]