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. [+]

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.

Anthony Hopkins is a brilliant actor; Cuba Gooding Jr is a talented guy with a lot of charm. Both have recently won Oscars (Best Actor for The Silence of the Lambs and Best Supporting Actor for Jerry Maguire, respectively); neither can make Instinct compelling. Hopkins plays a brilliant anthropologist studying gorillas who entered into their world, becoming part of their family, and who killed two park rangers in the gorillas' habitat. Gooding plays a brilliant young psychiatrist who is supposed to evaluate Hopkins and determine whether he's fit to stand trial. Hopkins, along with a number of other psychotics, is being held at a prison, which serves to illustrate the movie's themes about control and freedom. It's not so much that the ideas themselves are hokum-nature versus civilisation is always a rich topic-it's that Instinct boils them down to inane sound bites. Psychology is reduced to a game in which the psychiatrist's job is to trick the patient into believing the correct thing or revealing the key that will solve the puzzle. There's not a credible moment in the whole movie, despite the presence of a good cast, including Donald Sutherland and Maura Tierney. -Bret Fetzer, Amazon. com.

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. [+]

Roman Polanski's Death and the Maiden, a film adaptation of Ariel Dorfman's stunning play about the legacy of torture, has more in common with the director's first film, Knife in the Water (with all the latter's unnerving ambiguities about power, sexual transgression and confused alliances among three people) than a straightforward political parable. Sigourney Weaver (a bit underwhelming in this role, but good overall) plays a former political prisoner in an unnamed South American country that has turned democratic. She is married to a government official (fine work by Stuart Wilson) heading up official inquiries into the practice of torture under the former regime. Still shattered by her experience, Weaver's character seeks safe haven in closets of the cliff-top house she shares with her husband. But when her other half returns home with a seemingly nice fellow (a brilliant Ben Kingsley), she believes she recognises the stranger as the interrogator who raped her repeatedly in prison. She violently takes him hostage, and what ensues is a hurricane of fury and confusion, as Kingsley's terrified character denies all accusations, Wilson's guilt-ridden spouse can't decide whom to defend and Weaver turns her psychosexual rage into a weapon of humiliation. Dorfman adapted the screenplay himself, but there's no question that Polanski is leading us down the familiar path of human betrayal and terror that he crossed in such films as Rosemary's Baby, Repulsion and Bitter Moon. At times stunning in its bluntness and compelling to the last, Death and the Maiden literally takes us to the edge of oblivion where-in Polanski's films-the hardest truths always seem to fall into a heretofore unknown perspective. -Tom Keogh, Amazon. com.

Directed with a cool remove by Dominic Sena, Kalifornia falls somewhere between Badlands and Natural Born Killers. David Duchovny is a blocked author with a fascination for outlaw killers who hatches a plan to road trip through America's mass-murder landmarks to finish his book. He enlists the help of his frustrated photographer girlfriend Michelle Forbes, who desperately wants to leave the East Coast for LA, and they advertise for riding partners. Luckily for them, they wind up with a veteran killer, the greasy trailer-park ex-con Brad Pitt, who decides to skip parole with his cowering child-woman girlfriend Juliette Lewis. Duchovny is enamoured by gun-toting Pitt's recklessness and lawless disregard for, well, everything-simultaneously terrified and thrilled by Pitt's brutal beating of a barfly. Meanwhile, Pitt's leaving a trail of corpses in their wake. Pitt brings a ferocious magnetism to his part, but it's still hard to buy genial Duchovny's odd attraction; Juliette Lewis conveys a terrifying sense of victimization with her poor dumb creature. Despite the film's best efforts, it never really plumbs the psyche of Pitt's simmering psycho-he's just plain bad, you know-but it does fashion an effective little thriller out of the tensions brewing in the restless quartet. -Sean Axmaker, Amazon. com.

Taking its lead from Jonathan Demme's Oscar-winning pulse-raiser The Silence Of the Lambs, Copycat strives for intelligence over gristle and carnage. It's a terse, involving thriller that swings away from the usual cinematic notion of violence as a means to an end by forgoing brawn for brains. Young San Francisco police inspector Ruben Goetz (Dermot Mulroney) is teamed with brilliant force vet, M J Monahan (Holly Hunter), a diplomatic, no-nonsense cop who must buck the system in order to find a killer who is copying the crimes of history's most notorious serial killers. Ruben would rather shoot to kill than merely wound a suspect; Monahan labours to help him think more diplomatically. Everything changes when crank calls arrive at the station from serial-killer pin-up girl psychiatrist Helen Hudson (Sigourney Weaver). She's been housebound for 13 months, ever since murderer Daryll Lee Cullum (Harry Connick Jr. ) nearly made her his next victim because she testified against him in court. Though he's in prison, he's still mentor and muse to every loose cannon walking the streets-one of whom is killing people with a vengeance and hoping to finish the job Cullum began. Cop and doc team up to solve the case in this stylish, plot-driven movie. Though Copycat loses steam in the end, it still makes a point. [+]