A "Light Universe" and a "Dark Zone" keep good and bad apart for the characters of Lexx, even though it's often hard to tell the difference between the two in this offbeat and unique sci-fi show that delights in its own nastiness. The show's Canadian creators, "Supreme Beans" Paul Donovan, Lex Gigeroff and Jeffrey Hirschfield intended every episode to be, in their words, "a nasty adventure". With flashes of nudity and surgical gore, and a collection of extreme hairstyles and accents, the overall look is often akin to a sci-fi Eurotrash. Event Horizon and The Fifth Element seem to have taken something from the show, and despite a whole team of designers it in turn owes something to David Lynch's Dune. Aboard the stolen 10-kilometre-long spaceship Lexx (designed to look like a dragonfly) are the "Dirty Three-and-a-Half": insufferable coward Stanley H Tweedle (Brian Downey), the Edward Scissorhands clone and 2000 years-dead Kai (Michael McManus), decapitated and lovestruck robot head 790 (voiced by writer Hirschfield), and the skimpily wardrobed Zev (19-year-old Eva Habermann). It's with the last of these characters that the show generated its main audience and proved itself totally indifferent to regular boundaries of TV formatting. After four 90-minute-long movies (really just an extended pilot), it took time for a financial commitment to secure a second season. Then Habermann took on other work, leaving the show without its central babe allure. The creators' answer was to kill off Zev and then immediately resurrect her as Xev (Xenia Seeberg) in a manner far more inventive than Dr Who or even Dallas! A disregard both for genre conventions and good taste makes the show a constant series of surprises: by the time of the third season, the expression "anything goes" had long passed being understatement. On this tape: The four-part first season and the foretold Prophecy (seemingly) come to an end. [+]

Kurt Russell hits new heights in laconic action heroes with his portrayal of Sergeant Todd, born and bred to be a soldier in a futuristic army. Raised to kill mercilessly, living only for battle, he finds himself at the twilight of his career (and so-called life) when a regiment of genetically enhanced warriors threatens to make his brand of soldiering obsolete. Despite his extensive skills, he is no match for the best of breed of the new order and he's left for dead on a planet that serves only as a junk heap. There he encounters a ragtag group of castaways and in his own strange and silent way slowly begins to learn how to be less a killer and more a human. All is disrupted, though, when the genetic regiment arrives on the trash planet and decides to eradicate the local human "trespassers". Though Todd had been overmatched before, this time he has more than ever to fight for-a home and friends. Soldier is one of those rare sci fi movies that relies more on plot and action than special effects (though the trash planet is effectively wrought). The pace of action in the last half of the film is relentless and exciting and Russell's portrayal of the old warrior as he warms to human emotions relies more on expression than words-in fact, he barely utters more than a half-dozen lines. -Todd Nelson.

The fantastic visions of Belgian film-makers Marc Caro and Jean-Pierre Jeunet find full fruition in this fairy tale for adults. Evoking utopias and dystopias from Brazil to Peter Pan, Caro and Jeunet create a vivid but menacing fantasy city in a perpetually twilight world. In this rough port town lives circus strongman One (Ron Perlman), who wanders the alleys and waterfront dives looking for his little brother, snatched from him by a mysterious gang preying upon the children of the town. Rising from the harbour is an enigmatic castle where lives the evil scientist Krank (Daniel Emilfork), who has lost the ability to dream and robs the nocturnal visions of the children he kidnaps, but receives only mad nightmares from the lonely cherubs. Other wild characters include the Fagin-like Octopus-Siamese twin sisters who control a small gang of runaways-turned-thieves-Krank's six cloned henchmen (all played by the memorable Dominique Pinon from Delicatessen), and a giant brain floating in an aquarium (voiced by Jean-Louis Trintignant). Caro and Jeunet are kindred souls to Terry Gilliam (who is a vocal fan), creating imaginative flights of fancy built of equal parts delight and dread, which seem to be painted on the screen in rich, dreamy colours. -Sean Axmaker, Amazon. com.

The 1994 film Stargate was originally intended as the start of a franchise, but creators Roland Emmerich and Dean Devlin were distracted celebrating their Independence Day. Episodic TV treatment was the natural next step. Since neither Kurt Russell nor James Spader would be able to commit, it gave the producers licence to tinker with the cast and the universe they'd explore. Replacing the roles of Colonel Jack O'Neill and Dr Daniel Jackson respectively are Richard Dean Anderson and Michael Shanks. They're joined by Captain Samantha Carter (Amanda Tapping) and guilt-stricken former alien baddie Teal'c (Christopher Judge) to form the teacher's pet primary unit SG-1 With a seemingly endless network of Stargates found to exist on planets all across the known universe, their mission is to make first contact with as many friendly races as possible. Chasing their heels at almost every turn are the "overlord" pharaoh-like Goa'uld-the ancient Egyptian Gods who are none too chummy after the events of the original film. The welcome notion of a continued plot thread sees offshoots that follow the reincarnation of Daniel's wife, Sam's father literally joining a renegade faction of the Goa'uld, and Jack in an unending quest to out-sarcasm everyone. There's something of The Time Tunnel to the show's premise, but amid a dearth of derivative look-a-likes, Stargate has held its own with stories that put the science fiction back into TV sci-fi. Concluding the cliff-hanger from the end of Season One, "The Serpent's Lair" is a rollercoaster of wit, plot twists, and cutting-edge special effects as the SG-1 team resign themselves to a suicide mission. Sam is stalked by an assassin after a rescue mission all "In the Line of Duty". [+]

As "gigantic monster reptile attacks New York" movies go, you've got to admit that Godzilla delivers the goods, although its critical drubbing and box-office disappointment were arguably deserved. It's a shameless, uninspired crowd-pleaser that's content to serve up familiar action with the advantage of really fantastic special effects, and if you expect nothing more you'll be one among millions of satisfied customers. There's really no other way to approach it-you just have to accept the fact that Independence Day creators Roland Emmerich and Dean Devlin are unapologetic plagiarists, incapable of anything more than mindless spectacle that can play in any cinema in the world without dubbing or subtitles. The whole movie plays out like a series of highlights stolen from previous blockbusters of the 1990s; it's little more than a rehash of the Jurassic Park movies. The derivative script is so trivial that it's unworthy of comment, apart from a few choice laughs and the casting of Michael Lerner as New York's mayor, whose name is Ebert and who closely resembles a certain well-known movie critic. Perhaps that's a clever hint that this movie's essentially critic-proof. It's stupid but it's fun, and for most audiences that's a fitting definition of mainstream Hollywood entertainment. -Jeff Shannon Zorro, a pop-fiction creation invented by Johnston McCulley in 1918, is given new blood in this fast-moving and engaging version. Director Martin Campbell wisely instils a measure of frivolity into the deftly choreographed action sequences, while letting a serious tone creep in when appropriate. This covers much ground under the banner of romantic-action-adventure and it does so most excellently. [+]

By following up their debut thriller Bound with the 1999 box-office smash The Matrix, the co-directing Wachowski brothers-Andy and Larry-annihilated any suggestion of a sophomore jinx, crafting one of the most exhilarating sci-fi/action movies of the 1990s. With mind-boggling, technically innovative special effects and a thought-provoking script that owes a debt of inspiration to the legacy of cyberpunk fiction, this is much more than an out-and-out action yarn; it's a thinking man's journey into the realm of futuristic fantasy, a dreamscape full of eye candy that will satisfy sci-fi, kung fu, action and adventure fans alike. Although the film is headlined by Keanu Reeves and Laurence Fishburne-who both turn in fine performances-much of the fun and excitement should be attributed to Carrie-Anne Moss, whose Trinity flawlessly mixes vulnerability with immense strength, making other contemporary female heroines look timid by comparison. And if we were going to cast a vote for most dastardly movie villain of 1999, it would have to go to Hugo Weaving, who plays the feckless, semi-psychotic Agent Smith with panache and edginess. As the film's box-office profits soared, the Wachowski brothers announced that The Matrix is merely the first chapter in a cinematically dazzling franchise. -Jeremy StoreyIn the Box Set: That this Collector's Edition should appear less than a year after The Matrix's first DVD release indicates the degree to which the film has become an instant classic and set the initial benchmark for DVD quality and extra features. The chunky black box (about the size of the yellow pages) houses a slide-out tray containing the DVD, eight original lobby cards, an original one-sheet movie poster, six black and white photographs and a movie image card with the corresponding 35mm film frame attached. As with all such sets the whole is rapidly diminished by removing its parts, presenting the dilemma of whether to mount the poster and pictures, or leave them pristine but unseen in their original state. The DVD included is the same version available individually, including extensive behind-the-scenes features on the film's special effects. Contrary to the advertised contents, however, the disc does not contain the audio commentaries by Carrie-Anne Moss, editor Zach Staenberg and visual effects supervisor John Gaeta, or the music-only audio track with commentary by composer Don Davis (all of which are currently only available on the American version). [+]

Computer scientist Hannon Fuller (Armin Mueller-Stahl) finds something extremely important. Knowing that he's marked for assassination, he leaves a message in the virtual reality world he's designed, hoping it will be found by colleague Douglas Hall (Craig Bierko). Hall is a suspect in Fuller's murder and indeed finds a bloody shirt in his house, with no recollection of what he did the night before. Hall plunges headlong into Fuller's world (a re-creation of l937 Los Angeles) to try to unravel the slaying and is soon knee-deep in confusion and trouble. What this film lacks in character depth and plot cohesiveness it makes up for in special effects and high concept. Fans of films like Blade Runner, Dark City, eXistenZ, and even the game Sim City should find this appealing. Of course, there's the question of letting the computers do all the heavy lifting in films while the humans walk through the plot (an all-too-familiar scenario in 1999), but the re-creation of 30s Los Angeles is certainly something to see, pallid script and acting or not. The Thirteenth Floor is a stylish modern-day noir that raises questions about technology vs. reality, all the while wrapped up in a murder-mystery story line. -Jerry Renshaw.

The opening and closing moments of Robert (Forrest Gump) Zemeckis's Contact astonish viewers with the sort of breathtaking conceptual imagery one hardly ever sees in movies these day-each is an expression of the heroine's lifelong quest (both spiritual and scientific) to explore the meaning of human existence through contact with extraterrestrial life. The movie begins by soaring far out into space, then returns dizzyingly to earth until all the stars in the heavens condense into the sparkle in one little girl's eye. It ends with that same girl as an adult (Jodie Foster)-her search having taken her to places beyond her imagination-turning her gaze inward and seeing the universe in a handful of sand. Contact traces the journey between those two visual epiphanies. Based on Carl Sagan's novel, Contact is exceptionally thoughtful and provocative for a big-budget Hollywood science fiction picture, with elements that recall everything from 2001 to The Right Stuff. Foster's solid performance (and some really incredible alien hardware) keep viewers interested, even when the story skips and meanders, or when the halo around the golden locks of rising-star-of-a-different-kind Matthew McConaughey (as the pure-Hollywood-hokum love interest)reaches Milky Way-level wattage. Ambitious, ambiguous, pretentious, unpredictable-Contact is all of these things and more. Much of it remains open to speculation and interpretation but whatever conclusions one eventually draws, Contactdeserves recognition as a rare piece of big-budget studio film making on a personal scale. -Jim Emerson.

Ancient curses, all-powerful monsters, shape-changing assassins, scantily-clad stewardesses, laser battles, huge explosions, a perfect woman, a malcontent hero-what more can you ask of a big-budget science fiction movie? Luc Besson's high-octane film The Fifth Element incorporates presidents, rock stars, and cab drivers into its peculiar plot, traversing worlds and encountering some pretty wild aliens. Bruce Willis stars as a down-and-out cabbie who must win the love of Leeloo (Milla Jovovich) to save Earth from destruction by Jean-Baptiste Emmanuel Zorg (Gary Oldman) and a dark, unearthly force that makes Darth Vader look like an Ewok. -Geoff Riley Luc Besson's high-octane film The Fifth Element incorporates presidents, rock stars and cab drivers into its peculiar plot, traversing worlds and encountering some pretty wild aliens. Bruce Willis stars as a down-and-out cabbie who must win the love of Leeloo (Milla Jovovich) to save Earth from destruction by Jean-Baptiste Emmanuel Zorg (Gary Oldman) and a dark, unearthly force that makes Darth Vader look like an Ewok. Ancient curses, all-powerful monsters, shape-changing assassins, scantily-clad stewardesses, laser battles, huge explosions, a perfect woman, a malcontent hero-what more can you ask of any big-budget science fiction movie? -Geoff Riley.