Will Smith, Bill Pullman, Jeff Goldblum, Randy Quaid, Robert Loggia, Mary McConnell If you've got your high definition television set up, and your Blu-ray player or Playstation 3 at the ready, then surely home cinema demo material rarely comes in better shape than Independence Day. The spectacular 1996 blockbuster stars Will Smith in the early part of his movie career and, of course, tells the tale of invaders from other worlds bringing mighty ships to the Earth. And particularly in the first half, Independence Day wrings so much tension and style from their arrival that few films have equalled it since. The sheer spectacle of set pieces such as the blowing up of the White House, or the massive battle in the skies, simply deserves to be seen and enjoyed in high definition. Independence Day, of course, does go a bit daft as it goes about wrapping up its simple-yet-compelling premise, but it's really very hard not to forgive it. So ambitious were the effects at the time that they still stand up now, and as far as science fiction blockbusters go, this remains one of the finest in recent memory. Of course, high definition does it wonders. The film looks razor-sharp, and coupled with a punchy sound mix, Independence Day is quite superb demo material. That it's also a fun blockbuster too is an added, and very welcome treat. -Jon Foster.

The Fast and the Furious: Tokyo Drift has all the elements that spelled success for its predecessors: Speed, sex, and minimal dialogue. The plot doesn't need explication; it's a nonsensical series of confrontations and standoffs that serve to get us from one race to another. Tokyo Drift can most accurately be described as a visual poem about screeching tires, crunching fiberglass, and sleek female skin, set to a killer soundtrack of Japanese pop and hip-hop. The actors are only needed for tight close-ups of narrowed eyes or sweaty hands tightly gripping gearshifts, though Sung Kang, Better Luck Tomorrow, stands out as a vaguely philosophical hoodlum with deadpan charisma. The curved bodies of the cars and the luscious flesh of the women are both shot with a fetishistic hunger. The "drift" style of racing-in which the cars are allowed to slide in order to take sharp turns at high speeds-grabs your eyes; there's a strange, spectral beauty to rows of cars sliding sideways down a mountain road at night. Also starring Lucas Black (Friday Night Lights) as our wheel-happy hero; Bow Wow (Roll Bounce) as the scam-artist comic relief; and martial arts legend Sonny Chiba (Kill Bill) as a yakuza big shot. -Bret Fetzer.

Though it bears little resemblance to the celebrated 1969 original starring Michael Caine, this 2003 remake of The Italian Job stands on its own as a caper comedy that's well above average. The title's a misnomer-this time it's actually a Los Angeles job-but the action's just as exciting as it propels a breezy tale of honour and dishonour among competing thieves. Inheriting Caine's role as ace heist-planner Charlie Croker, Mark Wahlberg plays straight-man to a well-cast team of accomplices, including Mos Def, Jason Statham and scene-stealer Seth Green in a variation of the role originally played by Noel Coward. As the daughter of Croker's ill-fated mentor (Donald Sutherland), Charlise Theron is recruited to double-cross a double-crosser (Edward Norton in oily villain mode), and once again, speedily versatile Mini Coopers (this time, the modern BMW versions) play a pivotal role in director F Gary Gray's exhilarating car-chase climax. It's perhaps the greatest product placement in movie history, and just as fun the second time around. -Jeff Shannon.

If the fearless Richard Sharpe is the Indiana Jones of His Majesty's colonial army, then Sean Bean is the dashing, captivating Harrison Ford of the adventure series-handsome, rugged, and charismatic. Bean, who proves here he's every bit the international action star, brings his righteous determination to this installment of the popular Bernard Cornwell Sharpe series. Set in the early 19th century, when the British Empire has a lot of skirmishes to quell and rebellions to quash, Sharpe's Challenge brings our hero to remote India, where a renegade British officer has joined forces with a local rajah, wreaking havoc on civilians and His Majesty's troops as well. At the behest of the Duke of Wellington, Sharpe sets off to India on what will prove a wildly unpredictable and dangerous mission, with kidnappings, horrific assassinations (a nail into the top of the skull is a preferred method), and treachery at every turn. The cast, including Toby Stephens as Dodd, Michael Cochrane as the sneering Simmerson, the delightful Irish actor Daragh O'Malley as Sharpe's loyal sidekick, and the lovely Padma Lakshmi as a sultry force to be reckoned with, are uniformly strong. But it's Bean, with his world-weary demeanor and craggily handsome features, who commands this rollicking yarn. The film, shown on British television, was shot on location in glorious, dusty, romantic Rajasthan, India, and the whole effect is equal parts Raiders of the Lost Ark, Master and Commander, and the American TV hit House, with Bean wearing heroism and cynicism quite comfortably, thank you very much. Extras include a behind-the-scenes documentary and some deleted scenes. -A. T. [+]

The first of 1997's volcano disaster movies (the second being Volcano) was arguably the better of the two but both of them made for passable entertainment with some spectacular special effects to serve as icing on the stale cake. After all, Dante's Peak doesn't pretend to be anything more than an updated variation on a whole catalogue of disaster movie clichés. Despite all that, it's reasonably enjoyable. It's an added bonus that the script is just smart enough to allow Pierce Brosnan and Linda Hamilton to play their roles with straight faces, never condescending to the audience of the formulaic story. He's a volcano expert from the US Geological Survey, and she's the mayor of a cosy Washington State town perched beneath a volcano that's about to blow. Tell-tale signs are everywhere, so evacuation must be carried out immediately. Of course, not everybody's eager to leave and even some of Brosnan's colleagues think his alarm is premature. This sets the stage for massive ash clouds, rivers of raging mud and molten rock, flattened forests and death-defying escapes by Brosnan, Hamilton and some (but not all) of her family, friends and townsfolk. So what if it's all pretty flaky. [+]

A model for dozens of action films to follow, this box-office hit from 1967 refined a die-hard formula that has become overly familiar, but it's rarely been handled better than it was in this action-packed World War II thriller. Lee Marvin is perfectly cast as a down-but-not-out army major who is offered a shot at personal and professional redemption. If he can successfully train and discipline a squad of army rejects, misfits, killers, prisoners, and psychopaths into a first-rate unit of specialised soldiers, they'll earn a second chance to make up for their woeful misdeeds. Of course, there's a catch: to obtain their pardons, Marvin's band of badmen must agree to a suicide mission that will parachute them into the danger zone of Nazi-occupied France. It's a hazardous path to glory, but the men have no other choice than to accept and regain their lost honor. What makes The Dirty Dozen special is its phenomenal cast including Charles Bronson, Donald Sutherland, Telly Savalas, George Kennedy, Ernest Borgnine, John Cassavetes, Richard Jaeckel, Jim Brown, Clint Walker, Trini Lopez, Robert Ryan, and others. Cassavetes is the Oscar-nominated standout as one of Marvin's most rebellious yet heroic men, but it's the whole ensemble-combined with the hard-as-nails direction of Robert Aldrich-that makes this such a high-velocity crowd pleaser. The script by Nunnally Johnson and Lukas Heller (from the novel by E. M. Nathanson) is strong enough to support the all-star lineup with ample humour and military grit, so if you're in need of a mainline jolt of testosterone, The Dirty Dozen is the movie for you. [+]

"The Bride" (Uma Thurman) gets her satisfaction-and so do we-in Quentin Tarantino's "roaring rampage of revenge", Kill Bill, Vol. 2. Where Vol. 1 was a hyper-kinetic tribute to the Asian chop-socky grindhouse flicks that have been thoroughly cross-referenced in Tarantino's film-loving brain, Vol. 2-not a sequel, but Part Two of a breathtakingly cinematic epic-is Tarantino's contemporary martial-arts Western, fuelled by iconic images, music and themes lifted from any source that Tarantino holds dear, from the action-packed cheapies of William Witney (one of several filmmakers Tarantino gratefully honours in the closing credits) to the spaghetti epics of Sergio Leone. Tarantino doesn't copy so much as elevate the genres he loves, and the entirety of Kill Bill is clearly the product of a singular artistic vision, even as it careens from one influence to another. Violence erupts with dynamic impact, but unlike Vol. 1, this slower grand finale revels in Tarantino's trademark dialogue and loopy longueurs, reviving the career of David Carradine (who plays Bill for what he is: a snake charmer), and giving Thurman's Bride an outlet for maternal love and well-earned happiness. Has any actress endured so much for the sake of a unique collaboration? As the credits remind us, "The Bride" was jointly created by "Q&U", and she's become an unforgettable heroine in a pair of delirious movie-movies (Vol. 3 awaits, some 15 years hence) that Tarantino fans will study and love for decades to come. [+]

Ancient curses, all-powerful monsters, shape-changing assassins, scantily-clad stewardesses, laser battles, huge explosions, a perfect woman, a malcontent hero-what more can you ask of a big-budget science fiction movie? Luc Besson's high-octane film The Fifth Element incorporates presidents, rock stars and cab drivers into its peculiar plot, traversing worlds and encountering some pretty wild aliens. Bruce Willis stars as a down-and-out cabbie who must win the love of Leeloo (Milla Jovovich) to save Earth from destruction by Jean-Baptiste Emmanuel Zorg (Gary Oldman) and a dark, unearthly force that makes Darth Vader look like an Ewok. -Geoff Riley Luc Besson's high-octane film The Fifth Element incorporates presidents, rock stars and cab drivers into its peculiar plot, traversing worlds and encountering some pretty wild aliens. Bruce Willis stars as a down-and-out cabbie who must win the love of Leeloo (Milla Jovovich) to save Earth from destruction by Jean-Baptiste Emmanuel Zorg (Gary Oldman) and a dark, unearthly force that makes Darth Vader look like an Ewok. Ancient curses, all-powerful monsters, shape-changing assassins, scantily-clad stewardesses, laser battles, huge explosions, a perfect woman, a malcontent hero-what more can you ask of any big-budget science fiction movie? -Geoff Riley.

The sort of action thriller for which the phrase "high octane" could have been conceived, Swordfish stars John Travolta as Gabriel Shear, an enigmatic criminal operator who is as admired as he is feared. Using sexy sidekick Ginger (Halle Berry) as bait, he pressgangs Stanley Jobson, (Hugh Jackman) the world's greatest computer hacker, into helping him relieve the world banking system of a few billion dollars to finance his own enterprises. Jackman agrees, on the promise that Travolta will help him regain custody of his daughter. The numerous explosions and set-piece exchanges of high calibre gunfire tend at times to blowholes in the narrative fabric and sense of Swordfish, a film that nonetheless engages through its extravagant silliness. Vinnie Jones is under-used as a fearsome minder, a close-up of Halle Berry's breasts isn't entirely integral to the plotline, while Travolta enjoys himself as the dapper ringmaster of this orgy of techno-chaos, especially in scenes in which he blasts away a brace of pursuing assassins with improbable aplomb and during his opening, Tarantino-esque monologue. By the end, he has shown himself in his apparently true colours in such a way that events of September 11, 2001-although made prior to them-lent the film an eerie sense of prescience. -David Stubbs.

Funeral in Berlin (1967) is the sequel to 1965's The Ipcress File, again featuring Michael Caine as reluctant spy Harry Palmer. It was clearly the filmmakers' intention to make Palmer a harder-nosed James Bond, and director Guy Hamilton was brought to this project in between Goldfinger and Diamonds Are Forever for that purpose. There's espionage intrigue, easy women (Eva Renzi as Samantha Steel), and gunplay. But without the gadgetry, one-liners, or even the John Barry score of the first movie, the Bond comparison runs dry. Against the backdrop of a bombed-out industrial wasteland that was Berlin in the mid-Sixties, Palmer is sent to facilitate the defection of Col. Stock (Oscar Homolka). Numerous sub-plots weave together involving indifferent chief Ross (Guy Doleman from IPCRESS), mission aide Johnnie Volkon (Paul Hubschmid), and the untrustworthy Kreutzman (Günter Meisner, who was more memorable as Slugworth in Willy Wonka and The Chocolate Factory). It all comes down to revealing who's working for whom and who's really defecting in the set-piece funeral of the title. The main reason the series continued (Ken Russell's OTT Billion Dollar Brain came next) was the commanding presence of Caine. It's fun to hear him try German, and he manages a few subtle comic gems, such as when a waiter asks "Bitte mein heir?" and he replies, "No. [+]

The opening reels of Matrix Revolutions do nothing to dispel the feeling of exhausted disappointment that set in during the second half of The Matrix Reloaded. There's plenty more talky guff combined with the picking-up of hard-to-remember plot threads as Neo (Keanu Reeves) lies in a coma in the "real" world and is stranded on a tube station in a limbo "beyond the Matrix" while his allies do a reprise of the shooting-their-way-past-the-bodyguards bit from the last film (this time, the baddies can walk on the ceiling). A new Oracle (Mary Alice) makes some pronouncements about the end being near and more things happen-including the evil Agent Smith (Hugo Weaving) manifesting in reality by possessing a minor character and perfidiously blinding our hero, who wears a becoming ribbon over his wounded eyes and perceives the world in an impressive "flaming truth vision". What about the action? The equivalent of the last film's freeway chase scene is a huge face-off as the Sentinels (robot squids) finally breach the caverns of Zion, "the last human city", and swarm against a battalion of pilot-manipulated giant robots: here, the effects are seamless and the images astonishing, though the fact that none of the major characters are involved and the whole thing goes on so long as if designed to top any previous robot-on-robot screen carnage means that it becomes monotonously amazing, like watching someone else play a great computer game. After a too-easily-managed major realignment of the enmities, the film-and the series-finally delivers a sign-off sequence that's everything you could want as Neo and Smith get into a kung fu one-on-one in a rain-drenched virtual city, flying as high as Superman and Brainiac in smart suits. It comes too late to save the day and the wrap-up is both banal and incoherent, but at least this single combat is a reward for hardy veterans who've sat through seven hours of build-up. -Kim NewmanOn the DVD: when the first Matrix DVD was released, with never-before-seen features such as the "Follow the White Rabbit" option, it set a benchmark against which subsequent discs were judged. But neither sequel has lived up to the original's high standards. The Matrix Revolutions two-disc set is an unexceptional package, with a routine "making of" featurette being the main bonus item. Amid all the usual backslapping guff about how great everyone is and what a great time they've all had, it's possible to glean some nuggets of useful information about the baffling plot-though cast and crew can't repress a note of weariness creeping in when discussing the horribly protracted shooting schedule. [+]

One of TV's more interesting tough-girl action shows, Dark Angel is a distinctive blend of the personal, the adventurous and the politically aware. Cocreators James Cameron (yes, that James Cameron) and Charles Eglee present a complex scenario of biological super-science and social collapse in which their gene-manipulated heroine and hacker/journalist hero can genuinely make a difference. In this first series they also provide an adversary who is a lot more than just a conventional villain. Jessica Alba is impressive as Max, bred and trained as a super-soldier but reclaiming her individual humanity; Michael Weatherly is scruffily attractive as Eyes Only, who sits semi-paralysed in his eyrie above Seattle uncovering crime, corruption and other skulduggeries and sending the woman whom he hopelessly loves out on deadly errands. Jon Savage has real authority as Lydeker, a man who has stretched his conscience to breaking point, but is not personally corrupt. Some of the best episodes here-"Prodigy" for example-are ones in which Lydeker and Max are forced into temporary alliance. Early on the relationship between Max and the other workers at Jam Pony-the courier firm that provides her with a cover identity-is a little forced, but later on the two parts of Max's life are more successfully integrated: "Shorties in Love", for example, is a genuinely touching tale about Diamond, the doomed criminal ex-lover of Max's lesbian roommate. Dark Angel was never a perfect show, but at its occasional best it manages to be simultaneously funny and dramatic. On the DVD: Dark Angel, Series 1's Region 2 DVD is ungenerous with special features, providing only short interviews with James Cameron and Charles Eglee and with the stars, and giving us a preview of the Dark Angel computer game. The episodes are presented in widescreen and have excellent Dolby Digital sound which gives vivid presence to both the dialogue and the hard-driving contemporary rock score that is part of the show's style. [+]

Robert De Niro stars as an American intelligence operative adrift in irrelevance since the end of the Cold War-much like a masterless samurai, aka "ronin". With his services for sale, he joins a renegade, international team of fellow covert warriors with nothing but time on their hands. Their mission, as defined by the woman who hires them (Natascha McElhone), is to get hold of a particular suitcase that is equally coveted by the Russian mafia and Irish terrorists. As the scheme gets underway, De Niro's lone wolf strikes up a rare friendship with his French counterpart (Jean Reno), gets into a more-or-less romantic frame of mind with McElhone and asserts his experience on the planning and execution of the job-going so far as to publicly humiliate one team member (Sean Bean) who is clearly out of his league. The story is largely unremarkable-there's an obligatory twist midway through that changes the nature of the team's business-but legendary filmmaker John Frankenheimer (Seconds, The Manchurian Candidate) leaps at the material, bringing to it an honest tension and seasoned, breathtaking skill with precision-action direction. The centrepiece of the movie is an honest-to-God car chase that is the real thing: not the how-can-we-top-the-last-stunt cartoon nonsense of Richard Donner (Lethal Weapon) but a pulse-quickening, kinetic dance of superb montage and timing. In a sense, Ronin is almost Frankenheimer's self-quoting version of a John Frankenheimer film. There isn't anything here he hasn't done before but it's sure great to see it all again. -Tom Keogh Robert De Niro stars as an American intelligence operative adrift in irrelevance since the end of the Cold War-much like a masterless samurai, a. k. [+]