So here's the deal: A bunch of sassy scientific types, who all look as though they've spent just as much time lifting barbells as they have beakers, head out into Borneo to find a rare flower that's the "pharmaceutical equivalent to the fountain of youth"-and end up dodging the digestive system of several mutant snakes during mating season. You gotta hate when that happens. If you don't, you soon will, because this in-name-only sequel to Anaconda, 1997's now seminal guilty pleasure, is proof that more does not necessarily mean merrier. The thing isn't even good-bad; it's cheap and completely unmemorable even as popcorn fodder. Director Dwight Little and his posse of screenwriters have neither the budget nor the imagination to come on like a rip-snorting Aliens clone-it's pretty much one snake at a time, and frankly more concerned with the conniving British baddie (Matthew Marsden) who really, really wants that orchid. The cast of no-names is destined to remain that way, although the chiselled Johnny Messner, as a rugged jungle guide, provides a few hoots in his laughably stoic attempt at Vin Diesel-dom. It's hard to determine who you'd like eaten first. -Steve Wiecking, Amazon. com.

This high-energy Dirty Harry in Japan stars Jean Reno (The Professional) as a maverick Paris cop with sledgehammer fists and a short temper. Promoted to sudden fatherhood when he "inherits" a spunky Japanese daughter (Ryoko Hirosue) he never knew, he becomes her droopy guardian angel, protecting her from an army of yakuza gangsters. Written and produced by Luc Besson, the former fashionista director of Euro-sleek shoot-'em-ups, this colorful B-movie blast is as gritty as an oil slick on a water slide but packed with explosive action. Director Gerard Krawczyk punctuates his gunfights with the Hong Kong school of recoil (bullets blast victims across the screen) and an undercurrent of humor. As long as you don't lean too hard on such niggling details as logic, legality, and the laws of physics, this silly, splashy, family bonding bulletfest is a spirited good time.

Geroge Clooney, Brad Pitt, Matt Damon, Al Pacino, Andy Garcia, Don Cheadle It comes as something of a relief to find that Ocean's Thirteen eases itself back to the charm and suave, sophisticated swagger that underpinned the first in what's become a trilogy of capers. And for those who endured the self-indulgent mess that was Ocean's Twelve, this latest and final entry in the franchise is a very welcome treat, proving very much that lessons were learnt. Dropping Catherine Zeta Jones and Julia Roberts from the cast list, but signing up the smaller matter of Al Pacino instead, the rest of the players remain broadly intact. So it's George Clooney's Danny Ocean who leads the team of cons, supported by Brad Pitt, Matt Damon, Andy Garcia, Don Cheadle and Carl Reiner. And it's the easy chemistry between these and the rest of the team that underpin what makes Ocean's 13 such an enjoyable ride. The plot pits Ocean and his gang against Al Pacino's ruthless casino boss, and while the script perhaps lacks the cleverness and dense plotting that worked so well in the first adventure, it still leaves plenty of room for outright entertainment. The end result is an easy-to-enjoy caper, that's not the equal of Ocean's Eleven, yet far superior to Ocean's Twelve. And considering it was released in the midst of a summer where threequels generally weren't too well received, Ocean's Thirteen arrives in fine shape, and rounds off the trilogy with panache. -Jon Foster.

Winchester '73 is the first in a remarkable string of five classic westerns that James Stewart made with Anthony Mann in the 1950s (followed by Bend of the River, The Man from Laramie, The Naked Spur, and The Far Country). It is also distinguished for having helped revive the Western at the box office, and for being the first film in which the star forsook a huge up-front salary in favor of a share of the profits-a strategy that made Stewart rich and forever changed the way that Hollywood does business. The movie itself is pretty darned impressive, too. Stewart traces a stolen Winchester rifle through several owners until he finds the man he's looking for. The final spectacular shootout in craggy, mountainous terrain is justly famous. -Jim Emerson.

It's Die Hard on a plane in this action thriller, starring Wesley Snipes as an anti-terrorist specialist whose early retirement is interrupted when his flight is overtaken by a bloodthirsty villain (Bruce Payne). Watching this at home is pretty much an excuse to order pizza and kick back, as the familiar rhythms of maverick-cop-versus-international-criminal take over and nothing new or fresh in the formula emerges. The supporting cast includes Elizabeth Hurley (Austin Powers: International Man of Mystery) as a gun-wielding, junior terrorist, which is fun simply for being unexpected. The release includes optional full-screen and widescreen presentations, Dolby sound, production notes and optional English, French and Spanish subtitles. -Tom Keogh.

By transplanting the classic haunted house scenario into space, Ridley Scott, together with screenwriters Dan O'Bannon and Ronald Shusett, produced a work of genuinely original cinematic sci-fi with Alien that, despite the passage of years and countless inferior imitations, remains shockingly fresh even after repeated viewing. Scott's legendary obsession with detail ensures that the setting is thoroughly conceived, while the Gothic production design and Jerry Goldsmith's wonderfully unsettling score produce a sense of disquiet from the outset: everything about the spaceship Nostromo-from Tupperware to toolboxes-seems oddly familiar yet disconcertingly. well, alien. Nothing much to speak of happens for at least the first 30 minutes, and that in a way is the secret of the film's success: the audience has been nervously peering round every corner for so long that by the time the eponymous beast claims its first victim, the release of pent-up anxiety is all the more effective. Although Sigourney Weaver ultimately takes centre-stage, the ensemble cast is uniformly excellent. The remarkably low-tech effects still look good (better in many places than the CGI of the sequels), while the nightmarish quality of H. R. Giger's bio-mechanical creature and set design is enhanced by camerawork that tantalises by what it doesn't reveal.

Audiences overlooked Wild Bill at the cinema, but it's one of the better Westerns of the 1990s, featuring yet another terrific performance by Jeff Bridges, America's most underrated movie actor. As James Butler Hickock, he captures the sense of a man at the end of his career, one of the first media superstars who discovers that his legend is more burden than blessing. As he heads toward his final hand of poker in Deadwood, South Dakota, he flashes back to his younger days and the events that built his reputation, even as he copes with encroaching blindness caused by syphilis. Walter Hill blends action and elegy, utilising a screenplay based both on Pete Dexter's novel Deadwood and Thomas Babe's play Fathers and Sons. Wild Bill features strong supporting performances by John Hurt (as a Hickock sidekick) and Ellen Barkin (as the tough, lusty Calamity Jane)-but the centrepiece is the sad, manly performance by Bridges, who more than measures up to the part. -Marshall Fine.

Paul Newman plays a racecar driver, Frank Capua, who steps out of his professional and personal isolation long enough to marry a single mother, Elora (Joanne Woodward). The two have a brief but happy life together with Elora's 13-year-old son, Charley (Richard Thomas), but it comes to an end when Frank goes back on the racing circuit and Elora assuages her loneliness in the arms of her husband's chief rival, Luther (Robert Wagner). Frank checks out, and Charley travels across the country to find him and effect a reconciliation. A touching movie (with some good racing footage) by director James Goldstone, Winning is about the real pain of people who have become used to a certain way of safe, arm's-length living, and who have to learn to get beyond it to find redemption in love and faith. Good performances by Newman, Woodward, and Thomas, who makes a terrific impression in one of his earliest roles. -Tom Keogh.

In 1975's Carry On England, a mixed-sex anti-aircraft battery is set up during World War II by way of an experiment. The sex is indeed pretty mixed, although the drafting in of Patrick Mower and Judy Geeson rather demonstrates the need for at least some of the cast to be attractive in order to make this odd premise feasible. For the most part, of course, it's tits-out sex-comedy slapstick all the way, but there's a nicely ambivalent performance from Kenneth Connor, who portrays the wartime British officer class as being pretty much bonkers, a telling interpretation, which Stephen Fry was to perfect years later in Blackadder Goes Forth. The location is of course typically Carry On cheap-and-cheerful, but its inevitable drabness, together with the indistinguishable khaki uniforms, tends to put a bit of a dampener on the adult-panto atmosphere that the best Carry Ons deliver. The cast commendably manage to transcend this, though, so there's still plenty of fun to be had. -Roger Thomas.

It's hard to believe Ridley Scott's handsome epic won't become the cinematic touchstone of the Crusades for years to come. Kingdom of Heaven is greater than the sum of its parts, delivering a vital, mostly engrossing tale following Balian (Orlando Bloom), a lonely French blacksmith who discovers he's a noble heir and takes his father's (Liam Neeson) place in the center of the universe circa 1184: Jerusalem. Here, grand battles and backdoor politics are key as Scott and first-time screenwriter William Monahan fashion an excellent storyline to tackle the centuries-long conflict. Two forward-thinking kings, Baldwin (Edward Norton in an uncredited yet substantial role) and Saladin (Ghassan Massoud), hold an uneasy truce between Christians (who hold the city) and Muslims while factions champ at the bit for blood. There are good and evildoers on both sides, with the Knights Templar taking the brunt of the blame; Balian plans to find his soul while protecting Baldwin and the people. The look of the film, as nearly everything is from Scott, is impressive: his CGI-infused battle scenes rival the LOTR series and, with cinematographer John Mathieson, create postcard beauty with snowy French forests and the vast desert (filmed in Morocco and Spain). An excellent supporting cast, including Jeremy Irons, Brendan Gleeson, and David Thewlis, also help make the head and heart of the film work. Many critics pointed out that Bloom doesn't have the gravitas of Russell Crowe in the lead (then again, who does?), but it's the underdeveloped character and not the actor that hurts the film and impacts its power. Balian isn't given much more to do than be sullen and give an occasional big speech, alongside his perplexing abilities for warfare tactics and his wandering moral compass (whose sole purpose seems to be to put a love scene in the movie). Note: all the major characters except Neeson's are based on fact, but many are heavily fictionalized. [+]