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.

When Ridley Scott's cut of Blade Runner was finally released in 1993, one had to wonder why the studio hadn't done it right the first time-11 years earlier. This version is so much better, mostly because of what's been eliminated (the ludicrous and redundant voice-over narration and the phoney happy ending) rather than what's been added (a bit more character development and a brief unicorn dream). Star Harrison Ford originally recorded the narration under duress at the insistence of Warner Bros. executives who thought the story needed further "explanation"; he later confessed that he thought if he did it badly they wouldn't use it. (Moral: Never overestimate the taste of movie executives. ) The movie's spectacular futuristic vision of Los Angeles-a perpetually dark and rainy metropolis that's the nightmare antithesis of "Sunny Southern California"-is still its most seductive feature, another worldly atmosphere in which you can immerse yourself. The movie's shadowy visual style, along with its classic private-detective/murder-mystery plot line (with Ford on the trail of a murderous android, or "replicant"), makes Blade Runner one of the few science fiction pictures to legitimately claim a place in the film noir tradition. And, as in the best noir, the sleuth discovers a whole lot more (about himself and the people he encounters) than he anticipates. The cast also includes Sean Young, Edward James Olmos, Daryl Hannah Rutger Hauer and M. Emmet Walsh. [+]

A gloriously over-the-top treat, Paul Verhoeven's Starship Troopers takes the militaristic moralising of Robert Heinlein's pulp classic and sets about undermining it mercilessly. Johnny Rico (Casper Van Dien) desperately wants to join the Mobile Infantry and kill some Earth-threatening alien bugs. He also desperately wants Carmen (Denise Richards), but only gets to fulfil one ambition in the second of Verhoeven's futuristic satires (also cowritten with his RoboCop scriptwriter Ed Neumeier). Set in a fascistic future where kids must do military service to qualify as citizens, own property or even have babies, the film's dark Vietnam and Nazi-era parallels are all the more disturbing given its deceptively sunny Beverly Hills 90210 teenage cast (though scenery-chewing veteran Michael Ironside steals the movie as tough-talking Lt Rasczak). The CGI arachnids are among the most convincing and dangerous-looking creatures ever seen on screen, and with the movie clocking up the highest number of blanks ever fired on a film set, it's also pretty loud! Verhoeven went on to be Executive Producer of the Roughnecks: The Starship Troopers Chronicles animated TV series a couple of years later. On the DVD: Starship Troopers in this DVD incarnation can now be played continuously on one side of the disc (the original Region 2 release version was that crime against the DVD format, a "flipper"). You'll also feel really spoiled by the extras here: five deleted scenes (approximately six minutes) pad out Carmen's love triangle problems. There are impressive screen tests for Denise Richards and Casper Van Dien (three-and-a-half minutes). An eight-minute featurette zips by with key interviews and fact flinging. And a real treat is three scene developments with layers of FX work explained by Verhoeven. [+]

One of the most popular and influential shows in the history of television, for many viewers the original Star Trek (1966-9) defines good science fiction: however much it tries to be about the future, it cannot help but reflect the values of its own time, and Star Trek's vision was very much a product of creator Gene Roddenberry's 1960s' liberal-humanist idealism. Conceived at the height of the Cold War and during the escalation of the Vietnam conflict, his was a radical vision of a world where national and racial differences have been put aside and all people work together. With a policy of non-intervention in the affairs of other civilisations, and violence only as a last resort, Star Trek embodied a lost dream, a fantasy of what America could have been had John F. Kennedy not been assassinated in 1963. Captain James Tiberius Kirk (William Shatner) had the middle name of a Roman emperor, but otherwise shared his initials with the late president, and both were young, good looking, womanising, charismatic popular heroes. If Kirk didn't uphold truth, justice and the American way from the White House, a big white starship was the next best thing. There was even a Russian, Mr Chekov (Walter Koenig), on the bridge, and the show delivered network TV's first inter-racial kiss between Kirk and Uhura (Nichelle Nichols). Even though there was a white American male in control, it was still all a bit much for 1960s' mainstream TV, hence the voyages of the Starship Enterprise, boldly going on its five-year mission to explore strange new worlds, only lasted three seasons and 72 episodes before being cancelled in 1969, the year Man first walked on the moon. While the once-ground-breaking special effects now look routine, and the then-radical politics have now become part of the politically correct global mainstream, Star Trek retains an enduring popularity due to its strong storytelling-the show employed such top science fiction writers as Robert Bloch, Harlan Ellison, Richard Matheson, Norman Spinrad and Theodore Sturgeon-and admirable characters. Spock (Leonard Nimoy), McCoy (DeForest Kelley) and Scotty (James Doohan), Sulu (George Takei), Kirk, Chekov and Uhura remain icons for a world short of real heroes: loyal to the end, honest and utterly dedicated, these were the friends and colleagues who week after week trusted each other with their lives. [+]

In 1987, some 20 years after the original series had ended, Star Trek: The Next Generation was launched into a decade renowned for its materialistic greed, but also for its hesitant steps towards a more unified world order. Creator Gene Roddenberry revised his vision of humanity's future accordingly, shifting the Trek timeline 80 years on and reinventing the new Starship Enterprise as an Ark-like exploration vessel full of families, schools, soothing recreational facilities and a maternally pacifying computer voice (Roddenberry's wife, Majel Barrett). The Next Generation crew were not soldiers, but scientists and diplomats. Unlike the fiercely individualistic Captain Kirk, Patrick Stewart's patrician Captain Jean-Luc Picard was a model team leader: no matter how desperate the crisis, he ensured that everyone got to sit round the Conference Room table and talk it over. And in a true late-1980s touch, a key member of the Bridge crew was psychoanalyst Counsellor Troi, always on hand to discuss everyone's feelings. Season Two saw the welcome introduction of the cybernetic horror that was the Borg. Originally a powerful symbol of technological misuse in an otherwise technologically utopian universe, ultimately their hive-like existence served to reinforce the message that everyone would be much happier as a team player. Even renegade super-entity Q (John De Lancie) relied on Picard as much as his fellow god-like playmates; Data followed Pinocchio and Spock in a quest to discard what made him an individual; and there was even an episode that rationalised why all aliens basically looked alike (we're all one big family). Even the slogan change to "Where no one has gone before" acknowledges that there's no "one" in a team. But for all its earnest political correctness and an over-reliance on "technobabble", good stories played by an appealing ensemble cast were at the heart of the show's success. [+]

With the original conspiracy plot arc fallen into a muddle of loose ends no-one could possibly fathom, once-hungry lead actors on the verge of big screen careers and making demands for more time off or shots at writing and directing, and the initial wish list of monsters-of-the-week long exhausted, it's a miracle The X Files is still making its airdates, let alone managing something pretty good every other show and something outstanding at least once every four episodes. Season seven opens with a dreary two-parter ("Sixth Extinction" and "Amor Fati") and winds up with the traditional incomprehensible cliffhanger ("Requiem"), but along the way includes a clutch of shows that may not match the originality of earlier seasons but still effortlessly equal any other fantasy-horror-sf on American television. Highlights in this clutch: "Hungry", a brain-eating mutant story told from the point of view of a monster who tries to control his appetite by going to eating disorder self-help groups; "The Goldberg Variation", a crime comedy about a weaselly little man who has the gift of incredible good luck, which means Wile E Coyote-style doom for anyone who crosses him; "The Amazing Maleeni", guest-starring Ricky Jay in a rare non-fantastic crime story about a feud between stage magicians that turns out to be a cover for a heist; "X-Cops", a brilliant skit on the US TV docusoap Cops with Mulder and Scully caught on camera as they track an apparent werewolf in Los Angeles (season-best acting from David Duchovny and Gillian Anderson); "Theef", a complex revenge drama with gaunt Billy Drago as a hillbilly medicine man stalking a slick doctor; "Brand X", a horror comic tale of corruption in the tobacco industry; "Hollywood AD" (written and directed by Duchovny), in which Tea Leoni and Garry Shandling are cast as Scully and Mulder in a crass movie version of a real-life X file; and "Je Souhaite", a deadpan comedy about a wry, cynical genie at the mercy of trailer trash masters who haven't an idea what to wish for. Among the disasters are: "Fight Club", a grossly laboured comedy; "All Things", Gillian Anderson's riotously pretentious religious-themed writing-directing debut; "En Ami", written and understood by William B Davis, the cigarette-smoking villain; and the very silly "First Person Shooter", the lamest killer video-game plot imaginable courtesy of distinguished guest writer William Gibson. Still essential, despite the occasional pits, but yet again you go away thinking that the next season had better come up with some answers. -Kim Newman.

This imaginative comedy from director Barry Sonnenfeld (Get Shorty) is a lot of fun, largely on the strength of Will Smith's engaging performance as the rookie partner of a secret agent (Tommy Lee Jones) assigned to keep tabs on Earth-dwelling extra-terrestrials. There's lots of comedy to spare in this bright film, some of the funniest stuff found in the margins of the major action (a scene with Smith's character being trounced in the distance by a huge alien while Jones questions a witness is a riot. ) The inventiveness never lets up, and the cast-including Vincent D'Onofrio doing frighteningly convincing work as an alien occupying a decaying human-hold up their end splendidly. -Tom Keogh, Amazon. com On the DVD: This Collector's Edition disc contains a "Visual Commentary" that features director Barry Sonenfeld and actor Tommy Lee Jones in an anecdotal conversation, but with the unique twist that they are displayed as silhouettes on your TV screen (imagine you're sitting in the back row of the cinema and they are up front) using a pointer to highlight particular events on screen. If you have a widescreen TV, the menu prompts you to switch to 4:3 mode to see this. There is also a "Visual Effects Scene Deconstruction" in which the tunnel scene and the Edgar Bug fight scene are dissected into their constituent parts; an in-depth documentary, "Metamorphosis of MIB", which charts the progress of the concept from comic book to screen; five "Extended and Alternate" scenes; trailers, including a teaser for MIB II; and Will Smith's "Men in Black" music video. -Mark Walker.

In the industrial wasteland just outside of Los Angeles, circa 2027,there's a covert war raging between the cyborgs and the humans. "86. 5% is still human", insists superagent Alex (Jean-Claude Van Damme wannabe Olivier Gruner, complete with kick-boxing credentials and thick Euro-warble) but as the cyborg conspiracy builds around him he discovers that humanity is more than simply a matter of flesh and blood. Borrowing elements from Blade Runner, The Terminator, Escape from New York and The Road Warrior and looking ahead to digital "data couriers" of Johnny Mnemonic, director Albert Pyun turns the sci-fi spy story into an engine for a visceral thrill ride of sleekly designed action sequences driven by a dancing camera and a breakneck editing rhythm. It's a glorious triumph of style over substance, the vigorous pace leaving the story far behind and nimble set pieces belying a tiny budget with ambitious action choreography and impressive displays of property damage. Apart from a few clumsy special effects at the conclusion and the requisite collection of scene-chewing performances, Nemesis is a thoroughly entertaining piece of sci-fi trash, a classic example of cinematic energy overcoming the obstacles of plot. -Sean Axmaker.