Strictly for kids, this 1999 live-action feature version of the popular cartoon series seems long even at 80 minutes. As a video, it's easier to take and appreciate for what works best in the story: the special effects. Matthew Broderick plays the security guard who is physically transformed into a multi-use cyborg with a zillion attachments, from stilts to helicopter blades to skis. A crime fighter in raincoat and fedora, and equipped with a nifty Gadgetmobile, the hero investigates the death of a man linked to the villainous Sanford Scolex (Rupert Everett). Scolex, who blames Gadget for having to wear a prosthetic hand, develops an evil robot twin of the good inspector, causing much mischief and giving Broderick an opportunity to poke fun at his own performance of the virtuous Inspector. The action is shaky, the script plods along and the effects soon take over; Everett has to go to the extremes of overacting just to be seen above it. But children of a certain age will almost certainly engage with the more clever stuff and forgive the rest. -Tom Keogh.

The series formula started to kick in with this immediate sequel to Lethal Weapon, but that doesn't necessarily make it a weak movie. Joe Pesci joins the fold, Richard Donner directs again, and Mel Gibson and Danny Glover return as LAPD partners, their relationship smoother now that Gibson's character has recovered from his maddening grief over his wife's death. But the reckless Mel and cautious Danny equation, good for a million laughs, settles into place in this story involving a South African smuggler and a new girlfriend (Patsy Kensit) for Gibson. The movie is hardly comfy, though. The last act gets nasty, and a climactic fight between Gibson (who gets the worst of it) and some high-kicking villain is ugly. -Tom Keogh.

This Was Sam Peckinpah's First Feature As Director, A Cracking Western Taking Place In The Late 1860's. Yellowleg (Brian Keith), A Former Sergeant In The Union Army, Is Obsessed With Tracking Down Turk (Chill Wills), A Rebel Army Deserter Who, During The War Between The States, Tried To Scalp Him As He Lay Wounded On A Battlefield. Yellowleg Finds Turk And His Sidekick Billy (Steve Cochran) In A Bar And Convinces Them To Help Him Rob A Bank. They Travel To Gila City, Where The Bank Is Located, And Find That Another Group Of Bank Robbers Are Also In Gila City To Rob The Same Bank. During A Shoot-Out With The Other Bank Robbers, Yellowleg Accidentally Kills The Nine-Year-Old Son Of Dance-Hall Hostess Kit Tilden (Maureen O'Hara). Remorseful At Having Caused The Death Of Kit's Son, Yellowleg Forces Turk And Billy To Accompany Him Through Apache Territory To Bury Kit's Son At The Grave Of Her Husband In The Ghost Town Of Siringo. As Kit And Yellowleg Finally Reach Siringo, Yellowleg Realizes That He Is In Love With Her. But Then, Billy And Turk Reappear, Having Robbed The Bank In Gila City, Leading To A Final Confrontation Between Yellowleg And Turk.

Based on a retro-styled comic book hit of the 80s, this Disney film was meant to launch a whole line of Rocketeer films-but the series began and ended with this one. That's too bad because this underrated Joe Johnston film has a certain loopy charm. The story centres on a pre-World War II stunt pilot (Bill Campbell) who accidentally comes into possession of a rocket-propelled backpack much coveted by the Nazis. With the aid of his mechanic pal (Alan Arkin), he gets it up and running, then uses it to foil a plot by a gang of vicious Nazi spies (is there any other kind?) led by Timothy Dalton. Jennifer Connelly is on hand as the love interest but the real fun here is when the Rocketeer takes off. There's also a nifty battle atop an airborne blimp. -Marshall Fine.

After the stiff attempts at realism in many recent features, it's a treat to see broad cartoon-style animation on the big screen in Osmosis Jones, a spoof of cop movies set inside the human body. The title character (voice by Chris Rock) is a street-smart white blood cell, working for Frank's immune system. He and Drix (David Hyde Pierce), an over-the-counter cold capsule, are reluctant partners fighting what appears to be a minor infection. Osmosis discovers Frank has really contracted a fatal virus, Thrax (Laurence Fishburne): he battles a corrupt body politic led by a venal mayor (William Shatner) to save Frank's life and win the affection of the mayor's aide, Leah (Brandy Norwood). Rock's motor-mouth delivery can get annoying, but it contrasts nicely with straight arrow Drix (imagine a fussy Buzz Lightyear). Excellent drawing and a powerful vocal performance make Thrax a genuinely frightening villain. Osmosis Jones is about two-thirds animation and one-third live action, which is why two-thirds of the film is entertaining and funny, and one-third is not. The life Osmosis and Drix save belongs to Frank, a slob played in live-action sequences by Bill Murray, who's undercut rather than supported by Chris Elliott and Molly Shannon. Shamelessly over-the-top performances make the human characters seem flatter than the two-dimensional cartoons. The live action was shot by the Farrelly brothers and features lots of gross-out gags about zits, flatulence, vomit, etc. [+]

In Volume 2 of Roughnecks-Starship Troopers Chronicles, Johnny Rico, Lieutenant Razak and their computer-animated squad embark on the Tesca campaign, once again fighting the bugs in all their myriad forms, shooting anything that moves and generally causing chaos and mayhem. Inspired by Robert Heinlein's sci-fi classic and executive-produced by Paul Verhoeven, who made the big-screen version, Roughnecks is cutting-edge TV animation that's more for grown-ups than kids. The neat equipment, combat suits and weapons are as deadly as they are cool, and even though the extreme gore and violence of the movie has been toned down the endless threat from all manner of nasty bugs is still pretty terrifying (the Giant Spider Bug, for example, really is the stuff of nightmares). As with Volume 1, the five 20-minute episodes are here spliced together into a movie-length feature, which makes for a satisfyingly lengthy story arc instead of the more usual self-contained individual episodes. The show's structure also allows for plenty of character development: this time the squad are joined by an alien "skinny" called T'Phai who, as might be expected, has to work hard to bond with the rest of the team and earn their respect. Like all good war stories, at its heart Roughnecks celebrates that "Band of Brothers"-style bonding in extreme circumstances which we viewers can only experience vicariously. On the DVD: The 4:3 picture is good, although it's better to watch with the lights off to see all the detail in the moody (i. e. , "dark") CG animation. The 5. [+]

Of all the movies made about or glancingly involving the 19th-century outlaw Jesse Woodson James, The Assassination of Jesse James by the Coward Robert Ford is the most reflective, most ambitious, most intricately fascinating, and indisputably most beautiful. Based on the novel of the same name by Ron Hansen, it picks up James late in his career, a few hours before his final train robbery, then covers the slow catastrophe of the gang's breakup over the next seven months even as the boss himself settles into an approximation of genteel retirement. But in another sense all of the movie is later than that. The very title assumes the audience's familiarity with James as a figure out of history and legend, and our awareness that he was-will be-murdered in his parlor one quiet afternoon by a back-shooting crony. The film-only the second to be made by New Zealand-born writer-director Andrew Dominik-reminds us that Dominik's debut film, Chopper, was the cunningly off-kilter portrait of another real-life criminal psychopath who became a kind of rock star to his society. The Jesse James of this telling is no Robin Hood robbing the rich to give to the poor, and that train robbery we witness is punctuated by acts of gratuitous brutality, not gallantry. Nineteen-year-old Bob Ford (Casey Affleck) seeks to join the James gang out of hero worship stoked by the dime novels he secretes under his bed, but his glam hero (Brad Pitt) is a monster who takes private glee in infecting his accomplices with his own paranoia, then murdering them for it. In the careful orchestration of James's final moments, there's even a hint that he takes satisfaction in his own demise. Affleck and Pitt (who co-produced with Ridley Scott, among others) are mesmerising in the title roles, but the movie is enriched by an exceptional supporting cast: Sam Shepard as Jesse's older, more stable brother Frank; Sam Rockwell as Bob Ford's own brother Charlie, whose post-assassination descent into madness is astonishing to behold; Paul Schneider, Garret Dillahunt, and Jeremy Renner as three variously doomed gang members; and Mary-Louise Parker, who as Jesse's wife Zee has few lines yet manages with looks and body language to invoke a well nigh-novelistic back-story for herself. There are also electrifying cameos by James Carville, doing solid actorly work as the governor of Missouri; Ted Levine, as a lawman of antic spirit; and Nick Cave, composer of the film's score (with Warren Ellis) and screenwriter of the Aussie western The Proposition, suddenly towering over a late scene to perform the folk song that set the terms for the book and movie's title. [+]

Before he made the man-eating-lion thriller The Ghost and the Darkness and the special-effects-laden Lost in Space, director Stephen Hopkins helmed this ludicrous and critically panned thriller pitting a cop on the Boston Police bomb squad (Jeff Bridges) against a mad Irish bomber (Tommy Lee Jones) who's still holding a grudge from their early years in the Irish Republican Army (IRA). A showcase for the explosive skills of demolitions experts, Blown Away has got some impressive action sequences, although the story is somewhat convoluted and mean-spirited. Suzy Amis (Titanic) costars as Bridges's endangered girlfriend, who becomes a target of Jones's destructive scheme. - Jeff Shannon, Amazon. com.