Snatch, the follow-up to the Guy Ritchie's breakthrough film-the high-energy, expletive-strewn cockney-gangster movie Lock, Stock and Two Smoking Barrels-hardly breaks new ground being, well, another high-energy, expletive-strewn cockney-gangster movie. Okay, so there are some differences. This time around our low-rent hoodlums are battling over dodgy fights and stolen diamonds rather than dodgy card games and stolen drugs. There has been some minor reshuffling of the cast too with Sting and Dexter Fletcher making way for the more bankable Benicio Del Toro and Brad Pitt, the latter pretty much stealing the whole shebang as an incomprehensible Irish gypsy. Moreover, no one can complain about the amount of extras featured on this DVD that includes 15 minutes of deleted scenes, a making-of documentary, trailer, storyboards, production notes and commentary from Ritchie himself. And, sure, people who really, really liked Lock, Stock-or have the memory of a goldfish-will really, really like this. The suspicion lingers, however, that if the director doesn't do something very different next time around then his career may prove to be considerably shorter than that of 'er indoors. -Clark Collis.

Oliver Stone used such words as "liberating" and "fun" to talk about U-Turn's relatively quick production schedule of 42 days. Stone's ideas of film fun, however, are something older generations would call sick. This film is a Southwestern noir tale about Bobby Cooper (Sean Penn), a hotshot who is stuck in the tight confines of Superior, Arizona, when his car breaks down. His subsequent adventure is a meatball comedy-loud, obnoxious and violent, and stuffed with diffused light, a hot cast and a no-fat Ennio Morricone score. This film has plenty of odd characters but you never really find out much about them. Bobby's first encounters include a repulsive mechanic (Billy Bob Thornton under the grease) and a blind Indian (Jon Voight under the makeup). Then there's Grace McKenna (a sizzling Jennifer Lopez), who is as dangerous as the curves of her red sundress. Bobby's got time to kill and Grace seems more than willing. Unfortunately, it seems that Bobby has never seen a movie such as A Touch of Evil; if he had, he would know it can only get worse. About the time Grace's husband, Jake (Nick Nolte), shows up, Bobby is knee-deep in murder plots and double-crosses. [+]

Repeated viewings can't dispel the shock of the final scene in this classic 1941 romantic mystery-a brief but disorienting confrontation that suddenly inverts the heroine's mounting conviction that she's married a murderer, forcing us to reconsider virtually every scene and line of dialogue that's preceded it. It's a masterful coup de grace for director Alfred Hitchcock, who has built a puzzle around the corrosive power of suspicion, threaded with deft ambiguities that toy with dramatic conventions and character archetypes in nearly every frame. As embodied by Joan Fontaine, who nabbed an Oscar in this second outing with the director, Lina McLaidlaw is a buttoned-up, bookish heiress whose prim exterior conceals longings for a more engaged emotional life. Her solution materialises in the darkly handsome Johnnie Aysgarth, a gambler, womaniser and spendthrift who flirts, then pursues, and soon marries her. As Aysgarth, Cary Grant is both irresistible and sinister, capable of deceit and petty theft, as well as grander designs on his bride's impending fortune. Lina's passion for Johnnie is clouded by each new revelation about his apparent dishonesty, from clandestine gambling to real estate development schemes; more troubling are clues implicating him in the death of his best friend, and the prospect that Johnnie may be slowly poisoning Lina herself. By the time we see him ascending a darkened staircase with a suspicious glass of milk, an image made all the more indelible through the spectral glow the director captures in the glass, the evidence seems damning indeed. In fact, even as Hitchcock stacks the deck against Johnnie, and takes full advantage of Grant's skill at conveying such menace, the director also dots his landscape with visual clues to Lina's own neurotic (and erotic) obsessions. The final scene forces us to re-evaluate her behaviour while leaving enough of a cloud over Johnnie to rob him, and us, of a complete exoneration. It's a wicked, unsettling payoff to a brilliantly executed thriller. [+]

The British spy with a licence to kill takes on his dark underworld double, a classy assassin who kills with golden bullets at £1 million a hit. Roger Moore, in his second outing as James Bond, meets Christopher Lee's Scaramanga, one of the most magnetic villains in the entire series, in this entertaining but rather wan entry in the 007 sweepstakes. Bond's globetrotting search takes him to Hong Kong, Bangkok, and finally China, where Scaramanga turns his island retreat into a twisted theme park for a deadly game of wits between the gunmen, moderated by Scaramanga's diminutive man Friday Nick Nack (Fantasy Island's Hervé Villechaize). Britt Ekland does her best as an embarrassingly inept Bond girl, a clumsy, dim agent named Mary Goodnight who looks fetching in a bikini, while Maud Adams is Scaramanga's tough but haunted lover and assistant. Clifton James, the redneck sheriff from Live and Let Die, makes an ill-advised appearance as a racist tourist. He briefly teams up with 007 in what is otherwise the film's highlight, a high-energy chase through the crowded streets of Bangkok that climaxes with a breathtaking mid-air corkscrew jump. Bond and company are let down by a lazy script, but Moore balances the overplayed humour with a steely performance and Lee's charm and enthusiasm makes Scaramanga a cool, deadly, and thoroughly enchanting adversary. -Sean Axmaker, Amazon. com.

Heartbreakers wants to be a distaff variation of Dirty Rotten Scoundrels, compensating for lack of intelligence with ample cleavage provided by Sigourney Weaver and Jennifer Love Hewitt. This alone should draw plenty of drooling guys who will enjoy the scenery and affirm the movie's depiction of men as lecherous idiots. And what scenery it is! Dressed up in trampy glamour, Weaver and Hewitt play mother-and-daughter grifters with a devious routine: Max (Weaver) lures wealthy cads into marriage, and then daughter Page (Hewitt) seduces them, so mom can discover the infidelity and fleece the chump in divorce court. They've just scammed the boss of a hot-car ring (Ray Liotta) and now it's on to Palm Beach, Florida, where they'll dupe a wheezing tobacco baron (Gene Hackman) and retire to the good life. Or so they think. Armed with the same air headed humour he brought to Romy and Michele's High School Reunion, director David Mirkin relies on the clichéd notion that sex turns all men into morons-a conceit that would have worked if the dialogue and sitcom antics were more convincing. Additional plot twists-not to mention Hewitt's microskirts and Wonderbras-may hold your attention, but you may find yourself harking back to Steve Martin, Michael Caine, and those happier high jinks on the French Riviera. -Jeff Shannon, Amazon. [+]

Iron Monkey is a thrilling 1993 adventure directed by Yuen Woo-Ping, now better known as the action director of The Matrix and Crouching Tiger, Hidden Dragon. Audiences who approach Iron Monkey after seeing the latter two Hollywood-produced hit movies will not be disappointed here, either by the physical prowess of the stars or the astonishing action set-pieces (especially an interlude atop a set of "Chinese poles"), which are staged for maximum dynamism. The story concerns the real-life Cantonese patriot Wong Fei-Hung, who is first introduced as an earnest boy travelling with his upright pugilist father (Donnie Yen) and drawing inspiration from the activities of the benevolent masked bandit known as the Iron Monkey (Yu Rong-Guang), a sort of Oriental Robin Hood. Ever since the late 1800s Wong Fei-Hung has evolved into an icon of Chinese pop culture and he's been a central figure in Hong Kong cinema since the 1950s, notably in Tsui Hark's Once Upon a Time in China series. Yuen Woo-Ping's fight sequences for his version of the legend are a powerful combination of the older, Baltic style of kung fu action and the newer body-slamming style pioneered by Jackie Chan and Sammo Hung. If you thought you were allergic to martial arts but loved Crouching Tiger, Hidden Dragon, this is the perfect picture to continue your exploration of the genre. -David Chute, Amazon. com On the DVD: This is a handsome-looking anamorphic (16:9) widescreen transfer, although the soundtrack is in mono. You can select either the dubbed English version or the original Cantonese with English subtitles. Extra features include trailers, photo galleries, biographies and interviews with both star Donnie Yen (in English) and director Yuen Woo-Ping (subtitled).