Released to box-office indifference in 1986, Manhunter introduced Hannibal Lecter and established the rules of the modern race to find serial killer thriller five years before The Silence of the Lambs packed cinemas everywhere. This was Michael Mann's third feature, reuniting William L Petersen and Dennis Farina from his debut Thief (1981) as FBI agents hunting the killer dubbed "The Tooth Fairy". Petersen's Will Graham is the man who put Lecktor (as it is spelt here) behind bars, and as in Lambs consults with the Doctor, played with understated malevolence by Brian Cox. Manhunter is an exceptionally well-photographed film: Mann's regular cinematographer Dante Spinotti created sparse, elegantly framed, often mono-chromatically lit compositions which are essential to the shifting psychological moods. The performances are very good, and the typically 1980s, Vangelis-esque electronic score effectively sustains tension. Once the killer is introduced the scenes with Joan Allen have a genuinely unsettling, almost surreal quality. There is at least one serious plot flaw-how does "The Red Dragon" get his letter to Lecktor? Manhunter never packs the sheer excitement of Lambs, nevertheless, it is a powerful and compelling thriller which remains far superior to the third instalment in the series, Hannibal (2001). On the DVD: In addition to the trailer there is a revealing 10-minute conversation with Dante Spinotti in which he explains how he created the very distinctive look of Manhunter. Also included is a more general 17-minute retrospective "making-of" documentary. This is good but too short, the extras failing to live up to the wealth of material on the Lambs and Hannibal DVDs. [+]

John Huston (The Maltese Falcon) directed this smart thriller about a gangster (Edward G Robinson) who holds a number of people hostage in a hotel on the Florida keys during a tropical storm. Humphrey Bogart is the returning war veteran who takes on the villains, and Lauren Bacall is on hand as one of the people on the wrong end of Robinson's gun. Somewhat similar in tone to Howard Hawks's To Have and Have Not (which also featured Bogart and Bacall), Key Largo is a moody movie captures a certain despair offset by the bond between individuals united by common purpose. Claire Trevor won an Academy Award for her part as Robinson's alcoholic girlfriend. -Tom Keogh.

The Red Squirrel sees Jota, an ex-pop star with a penchant for doing nothing very much, standing on a bridge contemplating suicide. He's pulled back to reality by a dramatic motorcycle accident and goes to help the victim, an attractive young woman apparently physically unscathed but with severe amnesia. At the hospital he is assumed to be her boyfriend, and so the deception begins, as he invents everything from her name (Lisa) through to the details of their imaginary four-year relationship. Though based on a lie, it gradually becomes real but is Lisa really an amnesiac or is she deceiving the deceiver? Who is the mysterious Felix, leaving pleas on a late-night radio programme to his missing, mentally disturbed 25-year-old wife, Sofia? As an array of incidental characters get drawn in, each seems to be practising their own deceit. This is a beautifully wrought, endlessly thought-provoking film, complemented by Alberto Iglesias's fabulous score. The two leads are superb: as Jota, Nancho Nova is both fey and hypnotic while Elisa (Emma Suárez) is wonderfully whimsical. Not surprisingly, it garnered a whole heap of awards, from Best Foreign Film at Cannes to Best Score at the Goya Awards. And the significance of the title? Red squirrels are, apparently, quick and cunning creatures; just like human beings. On the DVD: The Red Squirrel is presented in Dolby Digital original Spanish soundtrack with option of English subtitles and anamorphic widescreen print. The usual stuff is on offer as special features, including trailers for other world cinema films, filmographies of the director and two leading characters, and a concise but considered analysis of the plot. [+]

Let's see-he has been Han Solo in three films and Indiana Jones in three more. So why shouldn't Harrison Ford take on a new continuing character in Tom Clancy's CIA analyst Jack Ryan? In this film, directed by Phillip Noyce, Ford picked up the baton when Alec Baldwin, who played Ryan in The Hunt for Red October, opted for a Broadway role instead. In this film, Ryan and his family are on vacation when Ryan saves a member of the British royal family from attack by Irish terrorists. The next thing he knows, the Ryan clan has been targeted by the same terrorists, who invade his Maryland home. The film can't shed all of Clancy's lumbering prose, or his techno-dweeb fascination with spy satellites and the like. But no one is better than Ford at righteous heroism-and Sean Bean makes a suitably snakey villain. -Marshall Fine.

Quentin Tarantino came out of nowhere (ie, a video store in Manhattan Beach, California) and turned Hollywood on its ear in 1992 with his explosive first feature, Reservoir Dogs. Like Tarantino's mainstream breakthrough Pulp Fiction, Reservoir Dogs has an unconventional structure, cleverly shuffling back and forth in time to reveal details about the characters, experienced criminals who know next to nothing about each other. Joe (Lawrence Tierney) has assembled them to pull off a simple heist, and has gruffly assigned them colour-coded aliases (Mr Orange, Mr Pink, Mr White) to conceal their identities from being known even to each other. But something has gone wrong, and the plan has blown up in their faces. One by one, the surviving robbers find their way back to their prearranged warehouse hideout. There, they try to piece together the chronology of this bloody fiasco-and to identify the traitor among them who tipped off the police. Pressure mounts, blood flows, accusations and bullets fly. In the combustible atmosphere these men are forced to confront life-and-death questions of trust, loyalty, professionalism, deception, and betrayal. As many critics have observed, it is a movie about "honor among thieves" (just as Pulp Fiction is about redemption, and Jackie Brown is about survival). Along with everything else, the movie provides a showcase for a terrific ensemble of actors: Harvey Keitel, Tim Roth, Steve Buscemi, Michael Madsen, Christopher Penn, and Tarantino himself, offering a fervent dissection of Madonna's "Like a Virgin" over breakfast. [+]

Comic actor Keenen Ivory Wayans made a creditable effort to expand his career horizons by writing the script for this action thriller, in which he also stars. Wayans plays US Marine Sgt James Dunn, a military hero who refuses an order to shoot a young shepherd during the Gulf War. His insubordination leads to a lethal struggle with a superior officer and a subsequent murder conviction against Dunn. Plucked from his death sentence by a covert unit of Marines, however, Dunn soon finds himself in a shadowy world of undercover wars under the command of one Lt Col. Grant Casey (Jon Voight). Offered freedom in exchange for aiding a mission against a corrupt industrialist (Robert Culp), Dunn agrees and then discovers he has actually been set up to take the fall for an assassination. Suddenly, he's the most wanted man in the world, with police, the military, the Secret Service and legions of reward seekers chasing him around Los Angeles. Jill Hennessy stars as an eyewitness who happened to catch the killing on videotape and can clear Dunn if she would only cooperate with him-a problem, since he has kidnapped her. Directed by David Glenn Hogan, Most Wanted works just fine as a well-oiled action piece with a capable star and competent action sequences. The story ideas (especially Dunn's Rambo-esque flight through the city and his reliance on esoteric survival skills) feel overly familiar, but that only makes Most Wanted all the more enjoyable as a pot-boiler instead of a serious original. [+]

King of New York is a low-budget crime thriller has the feel of a major blockbuster and owes its roots to the hard-edged crime movies of the 1930s. Christopher Walken stars as a drug kingpin who is released from prison and vows to use his position and influence-and criminal enterprise-for charitable means. But a core group of New York cops are all over him and his gang, determined to go to war, whatever the cost, to bring him down. Eventually his empire-headquartered at, of all places, Donald Trump's Plaza Hotel-crumbles under the weight of double-crossing and a body count of open warfare with the cops. This is one of the most stylish films of the last decade, with a strong supporting cast (including Lawrence Fishburne, Wesley Snipes, and David Caruso) and some truly enthralling set pieces, including a stunning car chase and gunfight across a rain-soaked Queensboro Bridge. The film's tongue-in-cheek, over-the-top style offsets its nihilism; and its riveting visuals will have audiences hooked from beginning to end. -Robert Lane.