A Sylvester Stallone vehicle, D-Tox thinks it is inventive, earnest and serious, but it is actually just extremely dull and formulaic. Following the death of his girlfriend at the hands of a twisted serial killer, hard-nosed cop Frank Malloy (the in-need-of-a-hit Stallone) turns to drink. He then checks in to a remote, futuristic rehab clinic for cops to confront both his demons and the prospect of wearing a lavender-coloured parka for the duration of his stay. Cut off from civilisation by a freak blizzard, the inmates start committing strangely elaborate suicides, and it quickly transpires that the killer is amongst them. The killer's motives are meant to teach us something about the human condition, but they are contrived and convoluted, and merely provide the excuse for some uninventive, suspenseless deaths. The film is also littered with supposedly profound therapy scenes in which the characters discuss fear, grief and addiction, and Stallone is foolishly given the opportunity to "act". Worse still, a very strong supporting cast (including Kris Kristofferson, Charles S Dutton, Tom Berenger and Robert Patrick) is all but completely wasted and the whole affair is both narratively and visually derivative, unsuccessfully trying to evoke the weight of numerous better films such as Seven, The Shining and The Thing. During one of many tedious bawling sessions, a fellow inmate consoles Stallone with the wisdom that "sometimes the real bad things in life can make you stronger". Watching D-Tox, however, is definitely an exception. -Paul Philpott.

Why did Hollywood think it was a good idea to take Get Carter-Mike Hodges' classic 1971 study in gangster psychology-transplant the setting from decaying Tyneside to a present-day American metropolis, neuter the screenplay so that precious little of the original's acerbic humour and subtlety remain, and assign the lead role of Jack Carter, memorably taken by Michael Caine in the original, to Sylvester Stallone? No amount of Rocky-cum-Rambo routines can convince you that he's remotely inside the character, even though here Carter's psychotic side has been airbrushed out as he seeks revenge for the murder of his brother and rape of his niece. Miranda Richardson is a wearily sympathetic Gloria, and Rachel Leigh Cook a not-too-bratish Doreen (is this actually used as an American name?). Mickey Rourke looks suitably wasted as loutish businessman Cyrus; Alan Cumming is an annoyingly smug computer whizz Kinnear (wouldn't you have pulled the trigger?), while Michael Caine loses all credibility for his cameo appearance as Cliff Brumby. Did he really need the cash? On the DVD: Get Carter on disc is a classy but lifeless production. Extras include the theatrical trailer, cast and crew details, and six deleted scenes which are too brief to be more than off-cuts. Three spoken and nine subtitled languages are provided, and there's director Stephen Kay's pithy running commentary to enjoy. Even he, however, often sounds at a loss to explain just why the film was made. Thank goodness the original movie is also available on DVD. -Richard Whitehouse.

The unquiet twin spirits of Fritz Lang and Franz Kafka preside over Europa, Lars von Trier's sardonic, saturnine vision of just-post-WWII Germany. In 1945 Leo Kessler, a young American of German descent, returns to the shattered land of his forebears to help in its reconstruction. Through his uncle, who works for the huge railway network Zentropa, he gets a job as a trainee sleeping-car conductor and also meets the seductive Katharina Hartmann, daughter of Zentropa's owner Max. But acts of sabotage and murder are being planned by unregenerate young Nazis calling themselves Werewolves, and very soon Leo's hapless innocent abroad starts finding out that, in this time and place of shifting loyalties, nothing and no one are what they seem. As if to accentuate this mood of nervous ambiguity, von Trier constantly switches from black and white to colour, and from English to (subtitled) German dialogue, often right in the middle of a scene. The cast boasts several iconic figures of European cinema, including Barbara Sukowa (a Fassbinder favourite) as femme fatale Katharina, and Eddie Constantine (from Godard's Alphaville) as a manipulative American colonel, while a literally hypnotic voice-over is spoken by the great Bergman actor Max von Sydow. There's more than a hint that von Trier intends a mischievous side-glance at today's Europe, and today's European film industry, in resentful thrall to the might of Hollywood. And while Europa is gripping and richly atmospheric, it's never without humour. The long, final episode is a tour de force of tragicomedy, with poor Leo juggling the competing demands of love and loyalty, life and death, while being harassed by his uncle who, horrified that Leo has lost his official peaked cap, forces him to wear a knotted handkerchief on his head, as well as by a pair of punctilious railroad inspectors demanding to know how long it takes him to make up a sleeping-car bunk. Lang and Kafka, sure, but maybe a touch of the Marx Brothers, too. [+]

Changing Lanes finds director Roger Michell (Notting Hill) going American but not Hollywood, working from a script written by Michael Tolkin (The Player) and newcomer Chip Taylor. The result is something like Falling Down squared. It all starts with a car collision in New York. An alcoholic insurance salesman Doyle Gipson (Samuel L Jackson), hurrying for a vital hearing at which he might lose access to his kids, is entangled with yuppie lawyer Gavin Banek (Ben Affleck), himself speeding to a court hearing at which he must present an important document to secure his firm's custodianship of a 100 million dollar foundation. Doyle wants to handle things by the book and spurns Gavin's offer of a blank cheque, which prompts the lawyer to drive off, leaving Doyle in the rain and doomed not to make the court in time, though he leaves behind the crucial document. Over the course of the day, things escalate as Gavin tries to get the file back and an embittered Doyle refuses. In a game of deadly tit-for-tat, Gavin hires a hacker to wipe out Doyle's financial records, while Doyle resorts to sabotaging Gavin's car. The script is carefully balanced: assuming our natural sympathy for the put-upon Jackson as opposed to the smooth Affleck, we are carefully shown that the picture is not that simple-Jackson wouldn't be in a custody hearing if this was the first time his life ran out of control, while the whole crisis forces Affleck (whose unethical bosses want him to forge the document) to reassess his fast-track life. It's fable-like rather than credible, but the suspense ratchets ever higher and there are some fine speeches well delivered by the stars. -Kim Newman.

Philippe Le Guay's Night Shift (aka Trois Huit) shows that bullying doesn't just happen at school, it can affect people in the workplace. Pierre (Gerald Laroche) is the new guy on the night shift. He's a good-natured family man, with a seemingly idyllic life, reflected by the secluded beauty of his home. This is starkly countered by the bleak French industrial setting of the bottle factory where he works. From the very beginning, Pierre is picked on by Fred (Marc Barbe), a boorish amateur boxer, who seems threatened by Pierre's popularity among their fellow workmates. At first, Fred's acts are put down as jovial, though aggressive, behaviour. As these acts grow more violent, both mentally and physically, they begin to affect the way Pierre perceives and is perceived by his wife, Carole (Luce Mouchel) and their 12-year-old son, Victor (Bastien Le Roy). Their increasingly complex relationship makes for compelling watching. Pierre's son begins to see Fred as a stronger father figure, and it's this that forces the normally reserved Pierre to stand up to his bully. The cinematography really helps to frame the action. [+]

A tense tale of menace, murder and redemption, The Deep End is a film that sets itself high and stylish standards but ultimately fails to meet them all. Set in a sleepy American lakeside town, it traces the sudden and rapid disintegration of the life of Margaret Hall, a devoted mother who discovers her son is having an affair with a seedy older man Darby Reese (played by the suitably sleazy Josh Lucas). Matters take a turn for the worse when, after Reese's death, she finds herself the victim of a blackmail plot. With her husband away at sea, it falls to her alone to keep the family safe from harm. Salvation comes in the unlikely form of Alex (ER regular Goran Visnjic), her blackmailer, who develops a close and unexpected bond with his intended victim. Tilda Swinton dominates proceedings as the increasingly desperate Margaret, although her relationship with Visnijc stretches the boundaries of credibility just a little too far. The direction is self-consciously showy, jumping at every opportunity for a clever shot. Although it isn't half the film that it thinks it is, The Deep End is still capable of holding the viewer's interest for its modest duration. On the DVD: The Deep End disc, in an annoying throwback to the days of video, opens straight into a series of trailers for forthcoming attractions. Once the menu itself appears there is a distinct lack of inventiveness and thought. [+]

Out of Sight was one of the best movies of 1998 but ironically this superior crime comedy was a box-office disappointment. Fortunately the movie can enjoy a long life on home video and DVD, where it can be savoured by anyone who missed its original release. Making one of his strongest films since his 1989 debut Sex, Lies, and Videotape and his recent hit Erin Brockovich, director Steven Soderbergh pays tribute to the signature wit and intricacy of Elmore Leonard's novel, brilliantly adapted by Scott Frank, the gifted screenwriter who previously adapted Leonard's Get Shorty. The movie is primarily a showcase for the talent and chemistry of George Clooney and Jennifer Lopez, respectively playing a career bank robber who has escaped from jail and the federal agent who falls for his charms while tracking him down. Soderbergh directs with confident visual flair, shifting timelines (à la Pulp Fiction) to weave together subplots and maintain vivid focus on Leonard's splendid characters and smooth-as-silk dialogue. While the sexy repartée between Clooney and Lopez recalls the vintage interplay of Humphrey Bogart and Lauren Bacall, Ving Rhames and Steve Zahn add ample comic relief as Clooney's accomplices. Dennis Farina is memorable as Lopez's father and Albert Brooks is almost unrecognisable as a Wall Street crook whose mansion-and a cache of uncut diamonds-provides the setting for the film's climactic caper. As orchestrated by Soderbergh, the film offers a feast of plot twists and surprises but it never loses track of its delightful characters and the clever wit that brings them so vividly to life. -Jeff Shannon.

Inspired by a famous 1971 psychological experiment, Oliver Hirschbiegel's German-language movie Das Experiment finds a group of 20 volunteers randomly divided into 12 prisoners and eight guards and asked to play out their roles for a fortnight while scientists study their reactions. A conflict arises between undercover reporter Fahd (Moritz Bleibtreu), a con with a hidden agenda and the apparently mild-mannered Berus (Justus von Dohnanyi), a guard with a megalomaniac streak. The film begins as a psychological drama as ordinary people settle into the game, with joking displays of resistance by the "prisoners" greeted with increasing brutality from the "guards", but detours into suspense and horror as Fahd, who needs the experiment to get out of hand in order to make his story more saleable, deliberately ratchets up the tension between the factions only to see the situation spiral nightmarishly out of control as various test subjects in both camps edge closer to snapping. With a terrific display of ensemble acting and unforced use of the currently popular claustrophobic semi-documentary look, Hirschbiegel's movie takes its time to get underway, with apparently irrelevant cutaways to Fahd's outside girlfriend (Maren Eggert), but works up to a powerful second half that delivers a sustained symphony of psychological and physical anguish. On the DVD: Das Experiment on disc has an excellent-looking anamorphic widescreen transfer with English subtitles. The only extra feature is the trailer. -Kim Newman.