Perhaps Sisko summed up the real heart of things: "Bajor doesn't need a man, it needs a legend". A future vision that retains a place for religion and spirituality turned out to be Deep Space Nine's first best destiny. -Paul Tonks.

Perhaps Sisko summed up the real heart of things: "Bajor doesn't need a man, it needs a legend". A future vision that retains a place for religion and spirituality turned out to be Deep Space Nine's first best destiny. -Paul Tonks.

-Paul Tonks.

It's one year after the events of the original motion picture. We find that Colonel O'Neill (Richard Dean Anderson replacing Kurt Russell) has retired from the military, thinking he can forget about the Stargate and those who were left behind. Events conspire to re-commission him alongside old faces and new when it's discovered there's more than one Gate in the galaxy. A lot more! Although it assumes familiarity with the preceding movie, "Children of the Gods" is still an excellent pilot show. Characters are introduced sensibly, the expanded premise is engaging, and there's clearly a healthy sense of never taking itself too seriously. -Paul Tonks The 1994 movie 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. Replacing the Kurt Russell and James Spader roles of Colonel Jack O'Neill and Dr Daniel Jackson respectively are Richard Dean Anderson and Michael Shanks. They are 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. The episodes are not always properly sequenced on the tapes, making the order of events potentially confusing, something that ought to be taken into account when viewing. One of the most affecting stand-alone episodes, "Singularity" presents a little girl-Cassandra-as a cruelly devised Trojan Horse. The Goa'uld have made her a walking time bomb, and the team's heartstrings are pulled unbearably. Amanda Tapping gives a remarkable performance as her motherly instincts take over. The emotions of "Cor-Ai" are a little less full of impact however, when Teal'c is put on trial for crimes of the past. Every TV show seems to go through this story line with one of its characters. The resolution is just as predictable. -Paul Tonks.

The muscles from Brussels heroically leap into action confronting the dangerous soldiers led by Bill (WCW) Goldberg and Michael Jai White. The action is impressive and the stunts are engrossing. Goldberg is charismatic as the cartoonish villain who sneers and snouts while muttering macho things like, "I'm gonna kill that guy. " Van Damme looks more at home in a production that he is not directing, and for once he lets his fists do the talking. But the movie misses the gloss and big-budget pathos of its predecessor (created by Dean Devlin and Roland Emmerich), making the original decidedly better. -Jeremy Storey, Amazon. com.

Getting out of the space biz, Spencer accepts a job as a corporate exec in New York, and as a welcome to the Big Apple for his comely wife, he molests her at the company cocktail party. Soon enough, Jillian is pregnant, but as you might expect, this pregnancy (twins, don't you know) is a little. unusual. Writer-director Rand Ravich takes his sweet time getting from extremely obvious plot point A to even more obvious plot point B, stretching out the development particulars in mind-numbing, suspense-killing fashion. Even Joe Morton, as a sinisterly psychotic NASA official, can't liven things up-you know you're in bad thriller territory when the biggest scare comes from a light suddenly being switched off. Theron, sporting a Mia Farrow in Rosemary's Baby style haircut, sleepwalks beautifully through the movie, but she did this role much, much better in The Devil's Advocate. Depp, with a cornpone Southern accent, is about as realistic as his peroxided hair. Ravich does the viewer no favours with a hackneyed ending straight out of a B-grade paperback horror novel in which the most shocking moment is Theron's sudden emergence as a brunette. With Blair Brown as a jaded socialite who offers to help out Theron by providing do-it-yourself abortion pills, and a lovely Donna Murphy as the suicidal wife who figures it all out before everyone else. - Mark Englehart, Amazon. com.

Yet for all its constant bickering and espionage (even Bashir got to be James Bond) there was always some contemporary social commentary lurking: the Ferengi were used as a comedic foil to frown on materialistic greed; drugs were looked at via the Jem'Hadar foot soldiers' addiction to Ketracel White. Perhaps Sisko summed up the real heart of things: "Bajor doesn't need a man, it needs a legend". A future vision that retains a place for religion and spirituality turned out to be Deep Space Nine's first best destiny. -Paul Tonks.

It ain't pretty, but it's a great movie. -Grant Balfour With its opening long shots of a car driving through the canyons of empty streets stirring up clouds of waste paper, Charlton Heston's 1971 film The Omega Man is an interesting precursor of more recent last-person-on-earth films such as 28 Days Later. Heston is surprisingly good at conveying the terror of being completely on your own, with sanity that wanders into long conversations with the inanimate. Rather less good are the film's antagonists, victims of bacterial warfare left as albino psychotics determined to destroy Heston as a representative of the old dead world of science and technology and a small group of the infected, but not yet changed, who live virtuous pastoral lives in the hills. The film's racial politics are interestingly dated: the heroine, Lisa, is black and has some wince-worthy moments of blaxploitation movie chic; the moment when she changes is nonetheless chilling for being eminently predictable. Loosely based on Richard Matheson's classic genre novel I Am Legend, perhaps the best thing about the film is that it comes from an era when science-fiction blockbusters could be relentlessly downbeat. On the DVD: The Omega Mancomes to disc with some interesting special features. There's a television "making of" that was shown at the time, as well as the trailer and an interesting short retrospective documentary containing interviews with the surviving screenwriter Joyce Corrington and a couple of the younger actors. The anamorphic widescreen picture is fine, as is the digitally remastered mono sound. -Roz Kaveney.

-Paul Tonks.

Yet for all its constant bickering and espionage (even Bashir got to be James Bond) there was always some contemporary social commentary lurking: the Ferengi were used as a comedic foil to frown on materialistic greed; drugs were looked at via the Jem'Hadar foot soldiers' addiction to Ketracel White. Perhaps Sisko summed up the real heart of things: "Bajor doesn't need a man, it needs a legend". A future vision that retains a place for religion and spirituality turned out to be Deep Space Nine's first best destiny. -Paul Tonks.