An impressive film from director Philip Noyce, The Quiet American proves that elegant and intelligent film-making can be emotionally powerful. Michael Caine plays Thomas Fowler, a British journalist in 1950s Vietnam with a lovely Vietnamese mistress named Phuong (Do Thi Hai Yen) and a jaded view of the political strife teeming around him. He befriends a seemingly innocuous American named Alden Pyle (Brendan Fraser), who falls in love with Phuong-and slowly, Pyle's real purpose in Vietnam becomes revealed. Fowler finds that, to hold on to the carefully balanced life he's created for himself, he must make choices he's long avoided. Caine and Fraser are both superb and give a human face to complicated politics; as a result, The Quiet American manages to be compelling as both history and a story about very specific people embroiled in a very personal conflict. -Bret Fetzer.

Although it eventually runs out of smart ideas and resorts to a typically explosive finale, this above-average thriller rises above its formulaic limitations on the strength of powerful performances by Samuel L Jackson and Kevin Spacey. Both play Chicago police negotiators with hotshot reputations, but when Jackson's character finds himself falsely accused of embezzling funds from a police pension fund, he's so thoroughly framed that he must take extreme measures to prove his innocence. He takes hostages in police headquarters to buy time and plan his strategy, demanding that Spacey be brought in to mediate with him as an army of cops threatens to attack, and a media circus ensues. Both negotiators know how to get into the other man's thoughts, and this intellectual showdown allows both Spacey and Jackson to ignite the screen with a burst of volatile intensity. Director F Gary Gray is disadvantaged by an otherwise predictable screenplay, but he has a knack for building suspense and is generous to a fine supporting cast, including Paul Giamatti as one of Jackson's high-strung hostages, and the late JT Walsh in what would sadly be his final big-screen role. The Negotiator should have trusted its compelling characters a little more, probing their psyches more intensely to give the suspense a deeper dramatic foundation, but it's good enough to give two great actors a chance to strut their stuff. -Jeff Shannon.

Humphrey Bogart and Lauren Bacall made screen history together more than once, but they were never more popular than in this 1946 adaptation of Raymond Chandler's novel, directed by Howard Hawks (To Have and Have Not). Bogart plays private eye Philip Marlowe, who is hired by a wealthy socialite (Bacall) to look into troubles stirred up by her wild, young sister (Martha Vickers). Legendarily complicated (so much so that even Chandler had trouble following the plot), the film is nonetheless hugely entertaining and atmospheric, an electrifying plunge into the exotica of detective fiction. William Faulkner wrote the screenplay. -Tom Keogh.

Given the haste in which this sequel followed the original, hopes may not have been particularly high for Saw 2. Yet the film itself proves to be a welcome surprise. For while it has moments where it needlessly attempts to out-gore the original, and while it's not as clever, there's plenty here to lift it above the status of lazy cash-in. The premise, once again, contrives to put a series of apparent strangers into one location, surrounded by various traps and clues to get out. That location, a dilapidated house in this instance, is locked up, and slowly filling with nerve gas. In short, thanks to the work of deadly serial killer Jigsaw, the collection of people inside have two hours to live. This time though, their plight is being watched remotely via a video link by police officers, specifically Detective Eric Matthews, who quickly discovers his son is one of those caught in Jigsaw's deadly trap. With a tempered running time that allows little time for waste, where Saw 2 scores is in simply getting on with the job. It's a slightly bumpier ride than first time round, but again, it's hard not to get drawn into the fun. One notable word of warning though: Saw liked its gore, and so does this sequel. [+]

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. [+]

Codebreaking is an inherently fascinating but not especially cinematic endeavour, which is why Enigma spices up the true story of Bletchley Park and its eclectic group of Nazi code-cracking geniuses with some fictional romance and intrigue. Dougray Scott plays gaunt mathematician Tom Jericho, haunted by the spectre of his missing girlfriend Claire (self-consciously gorgeous Saffron Burrows). Tom turns to Claire's frumpy housemate Hester Wallace (dressed-down Kate Winslet) to help him find her, but their search unexpectedly reveals the presence of a spy at Bletchley Park. Matters are further complicated by an investigating secret service agent (imperturbable Jeremy Northam) and the hostility of Jericho's superiors. Based on the novel by Robert Harris and adapted for the screen by Tom Stoppard, Enigma is unsurprisingly a literate and accomplished piece, unfussily directed by Michael Apted who keeps the various current and flashback story threads moving neatly in parallel, helped along by a languid score from veteran John Barry and a vividly realised wartime setting ("Have you heard the latest? Utility knickers-one yank and they're off!"). The contrived plot, however, distracts from the real drama, which is to be found in the desperate struggle to decipher the Enigma machine codes and the sometimes terrible ethical dilemmas involved. A little like that other Kate Winslet film, Titanic, this is another example of the factual background being far more compelling than the fiction grafted on top. On the DVD: Engima arrives on disc in an extras-free package, with only scene selection and subtitles. More than one excellent documentary has been made about Alan Turing and his team of Bletchley Park codebreakers, so it's doubly disappointing to have nothing here on the real-life events depicted in the movie. Picture is widescreen 1. [+]

Destined for cult status, this provocative thriller offers a grab bag of genres (gangster movie, comedy, sexy romance, crime caper) and tops it all off with steamy passion between lesbian ex-con Corky (Gina Gershon) and a not-so-ditzy gun moll named Violet (Jennifer Tilly), who meets Corky and immediately tires of her mobster boyfriend (Joe Pantoliano). Desperate to break away from the Mob's influence and live happily ever after, the daring dames hatch a plot to steal $2 million of Mafia money. Their scheme runs into a series of escalating complications, until their very survival depends on split-second timing and criminal ingenuity. Simultaneously violent, funny and suspenseful, Boundis sure to test your tolerance for bloodshed but the film is crafted with such undeniable skill that several critics(including Roger Ebert) placed it on their top-10 lists for 1996. -Jeff Shannon.

Although it received mixed reactions from critics and audiences alike when released in 1998, this supernatural thriller benefits from a sustained atmosphere of anticipation and dread, and its combination of detective mystery and demonic mischief is handled with ample style and intelligence. Under the direction of Gregory Hoblit (who fared better with Primal Fear), Denzel Washington plays detective John Hobbes, who witnesses the gas-chamber execution of a serial killer (Elias Koteas). But when another series of murders begins, Hobbes suspects that the killer's evil spirit has survived and is possessing the bodies of others to do its evil bidding. Even Hobbes's trusted partner (John Goodman) thinks the detective is losing his grip on reality, but the dire warnings of a noted linguist (Embeth Davidtz) confirm Hobbes's far-out theory, and his case intensifies toward a fateful showdown. Although its idea is better than its execution, and the story's film noir ambitions are never fully accomplished, this slickly directed thriller has some genuinely effective moments in which evil forces are entwined into the fabric of everyday reality. Among the highlights is a memorable scene in which Detective Hobbes must track the killer as the evil spirit is transferred between many people via physical contact. Even if the film is ultimately less than the sum of its parts, it's an intriguing hybrid that resides in the same cinematic neighbourhood as Seven and The Silence of the Lambs with a cast that also includes Donald Sutherland and James Gandolfini. Included on the DVD is a full-length audio commentary by director Hoblit, screenwriter Nicholas Kazan and producer Charles Roven. -Jeff Shannon, Amazon. com.

Throughout his long, wandering, often distinguished career Francis Ford Coppola has made many films that are good and fine, many more that are flawed but undeniably interesting, and a handful of duds that are worth viewing if only because his personality is so flagrantly absent. Yet he is and always shall be known as the man who directed the Godfather films, a series that has dominated and defined their creator in a way perhaps no other director can understand. Coppola has never been able to leave them alone, whether returning after 15 years to make a trilogy of the diptych, or re-editing the first two films into chronological order for a separate video release as The Godfather Saga. The films are America's very own Shakespearean cycle: they tell a tale of a vicious mobster and his extended personal and professional families (once the stuff of righteous moral comeuppance), and they dared to present themselves with an epic sweep and an unapologetically tragic tone. Murder, it turned out, was a serious business. The first film remains a towering achievement, brilliantly cast and conceived. The entry of Michael Corleone into the family business, the transition of power from his father, the ruthless dispatch of his enemies-all this is told with an assurance that is breathtaking to behold. And it turned out to be merely prologue; two years later The Godfather, Part II balanced Michael's ever-greater acquisition of power and influence during the fall of Cuba with the story of his father's own youthful rise from immigrant slums. The stakes were higher, the story's construction more elaborate, and the isolated despair at the end wholly earned. (Has there ever been a cinematic performance greater than Al Pacino's Michael, so smart and ambitious, marching through the years into what he knows is his own doom with eyes open and hungry?) The Godfather, Part III was mostly written off as an attempted cash-in, but it is a wholly worthy conclusion, less slow than autumnally patient and almost merciless in the way it brings Michael's past sins crashing down around him even as he tries to redeem himself. [+]

In the entire history of American movies, The Night of the Hunter stands out as the rarest and most exotic of specimens. It is, to say the least, a masterpiece-and not just because it was the only movie directed by flamboyant actor Charles Laughton or the only produced solo screenplay by the legendary critic James Agee (who also co-wrote The African Queen). The truth is, nobody has ever made anything approaching its phantasmagoric, overheated style in which German expressionism, religious hysteria, fairy-tale fantasy (of the Grimm-est variety), and stalker movie are brought together in a furious boil. Like a nightmarish premonition of stalker movies to come, Night of the Hunter tells the suspenseful tale of a demented preacher (Robert Mitchum, in a performance that prefigures his memorable villain in Cape Fear), who torments a boy and his little sister-even marries their mixed-up mother (Shelley Winters)-because he's certain the kids know where their late bank-robber father hid a stash of stolen money. So dramatic, primal, and unforgettable are its images-the preacher's shadow looming over the children in their bedroom, the magical boat ride down a river whose banks teem with fantastic wildlife, those tattoos of LOVE and HATE on the unholy man's knuckles, the golden locks of a drowned woman waving in the current along with the indigenous plant life in her watery grave-that they're still haunting audiences (and filmmakers) today. -Jim Emerson, Amazon. com.