Spinal Tap it ain't, but Michael Lehmann's good-natured comedy of errors, about a garage band whose unannounced visit to a local radio station escalates into a hostage situation, is pleasant diversion with a fair share of laughs. Brendan Fraser plays the singer-songwriter of the unknown heavy metal band the Lone Rangers, a trio of socially challenged musicians rounded out by dimwitted but sweet bass player Adam Sandler and aging drummer/toy-store employee Steve Buscemi-who just happens to be packing a lifelike toy machine gun from work. Needless to say, the friendly visit is misinterpreted as a hostile takeover, but all the Lone Rangers want is to play their music on the air-and they sabotage themselves again by destroying their own demo tape! Joe Mantegna plays a burned-out deejay who tries to help the muddled metalheads as the media surrounds the building and asks the question on everyone's lips: "How can you be the Lone Rangers if you're always together?" -Sean Axmaker.

A gloriously over-the-top treat, Paul Verhoeven's Starship Troopers takes the militaristic moralising of Robert Heinlein's pulp classic and sets about undermining it mercilessly. Johnny Rico (Casper Van Dien) desperately wants to join the Mobile Infantry and kill some Earth-threatening alien bugs. He also desperately wants Carmen (Denise Richards), but only gets to fulfil one ambition in the second of Verhoeven's futuristic satires (also cowritten with his RoboCop scriptwriter Ed Neumeier). Set in a fascist future where kids must do military service to qualify as citizens, own property or even have babies, the film's dark Vietnam and Nazi-era parallels are all the more disturbing given its deceptively sunny Beverly Hills 90210 teenage cast (though scenery-chewing veteran Michael Ironside steals the movie as tough-talking Lt Rasczak). The CGI arachnids are among the most convincing and dangerous-looking creatures ever seen on screen, and with the movie clocking up the highest number of blanks ever fired on a film set, it's also pretty loud. Verhoeven went on to be Executive Producer of the Roughnecks: The Starship Troopers Chronicles animated TV series a couple of years later. -Paul Tonks Casper Van Dien, Eric Bruskotter, John Cunningham, Christopher Curry, Dale Dye.

Marvel Comics fans have been waiting for this big-screen Spider-Man since the character made his print debut in 1962, which attaches impossible expectations to a film that rates as a solid success without breaking out of the spandex ghetto in the way that Batman Returns or X-Men did. Tobey Maguire is ideally cast as speccy Peter Parker, a high school swot with personal problems. The suit and effects take over when he gets bitten by a genetically engineered (i. e. , no longer radioactive) spider and transforms into a web-swinging superhero who finds that these super-powers don't really help him get close to the girl next door (Kirsten Dunst) or protect his elderly guardian (Cliff Robertson) from random violence. The villain of the peace is Peter's best friend's industrialist father (Willem Dafoe) who has dosed himself on an experimental serum which makes him go all Jekyll-and-Hyde and emerge as the cackling Green Goblin, who soon gets a grudge against Spider-Man. Sam Raimi gives it all a bright, airy, kinetic feel, with wonderful aerial stuff as Spider-Man escapes from his troubles by swinging between skyscrapers, and the rethink of Stan Lee and Steve Ditko's origin story is managed with a canny mix of faithfulness (JK Simmons' as the crass editor JJ Jameson is the image of the comic character) and send-up (after a big introduction, Spider-Man finally appears in a really rubbish first attempt at a spider costume). Maguire and the impossibly sweet Dunst make it work as a hesitant teen romance, but somehow the second half, which brings on the villain to give the hero someone to fight, is only exciting when it wants to be affecting too. -Kim Newman On the DVD: Spider-Man's two-disc offering is nothing out of the ordinary, but fans will find some gems here including Stan Lee's thoughts, a gallery of comic cover art and profiles on the baddies. The two commentaries (cast and crew, and Special Effects) both have long periods with pauses, but the special effects guys are full of insight. [+]

In The Edge writer David Mamet created two engrossing and memorable characters; an urbane fashion photographer played by Alec Baldwin and a reserved and intellectual billionaire played by Anthony Hopkins. They find themselves teamed up against both a giant Kodiak bear and their own inner demons, when lost together in the Alaskan wilderness. The subject matter includes male rivalry, the isolationism of extreme wealth and, most conspicuously, the survival of the fittest. Mamet's script, which sounds a little too arched in spots, is well served by New Zealand director Lee Tamahori, who knows how to capture beauty and brutality in one frame. Although the themes are enormous in scope, they are well balanced and one rarely overpowers the other, nor does the achingly beautiful scenery overshadow the acting. Even if you don't like the intellectualism of the dialogue, there are some great scenes with the bear. -Rochelle O'Gorman, Amazon. com.

Inspired by the popular video game franchise, Hironobu Sakaguchi's Final Fantasy: The Spirits Within is a completely computer-generated film which, unlike Toy Story and Shrek, is also a serious science fiction drama with astonishingly human digital actors. Aki, the female lead, appeared in a full-page spread in Maxim magazine's Hot 100 list-and was indistinguishable from the real-life models. The setting and conflict make for incredible action, but it's the larger issues, character interaction and human elements that really make the movie shine. The Spirits Within is not simply a science fiction movie, in the same way that Crouching Tiger, Hidden Dragon is not simply a kung-fu flick. The result is a fantastic summer movie with better action and more emotion than Pearl Harbor and actors more lifelike than those in that other video game movie, Tomb Raider. -Mike Fehlauer, Amazon. com On the DVD: disc one includes an interesting, if a little flat, director's commentary. Better is the isolated score with a superb and fascinating commentary from composer Elliot Goldenthal. Other options allow you to access more information about the film. The menus are clear and feature full CGI effects and specially created sequences. [+]

For a film confined almost entirely to one tiny location, Phone Booth has been the centre of a lot of off-screen action: changing lead man from Will Smith to Jim Carrey to Colin Farrell, with various directors attached, and finally postponed as a result of the Washington Sniper attacks-and all this before its release. Still, Larry Cohen's taut 80-minute script finally hits the screens and, as public utility-based thrillers go, it's pretty gripping stuff. Colin Farrell plays slick and obnoxious PR man Stu Shepard who picks up a ringing payphone only to be informed by a mysterious sniper (Keifer Sutherland) that there's a gun pointed directly at him. What Stu initially believes to be a joke turns about to be a vendetta from the sniper who objects to married Stu's philandering ways, and it soon escalates into a prime-time TV siege. Joel Schumacher's energetic direction-employing some snappy editing and nifty split-screen techniques-helps distract from an uneven and often predictable plot. It's easy for the audience to think of a dozen ways this siege could be averted, but by upping the tension stakes Schumacher still makes it fun to watch. Colin Farrell gives a compelling central performance, which runs the emotional gamut from anger to fear to anguish and even carries off a cheesy absolution scene. Keifer Sutherland's husky baddie voiceover is not exactly the stuff of nightmares but, like the rest of the film, you could do a lot worse. As a pure popcorn thriller, Phone Booth hits all the right buttons. -Laura Bushell.

Steven Seagal can consider himself lucky if he ever makes a better movie than this one, which was appropriately dubbed "Die Hard on a battleship" when released in 1992. Seagal handles the heroic duties with his usual wooden efficiency, but the movie's greatest assets are a punchy script and the scene-stealing performances of Tommy Lee Jones and Gary Busey. The two play leaders of a terrorist group who take over the venerable battleship USS Missouri during its final commissioned voyage. They're crazed psychotics who seize control of the ship's nuclear arsenal, but they don't know that Seagal-as the ship's cook, no less-is a former Navy hero, lurking in the shadows and waiting to spoil their nefarious scheme. Director Andrew Davis (The Fugitive) helms the action with skilful style, and as the cheesecake stripper who proves handy with a hand grenade, Playboy Playmate-turned-actress Erika Eleniak gives Seagal another reason to strut his macho stuff. Under Siege is hormonal hokum for gun-happy viewers, but as action movies go, this one's a definite guilty pleasure. -Jeff Shannon.

Sam Peckinpah knew he couldn't call a movie Bring Me the Head of Alfredo Garcia and get away with it. That's why he did it. When he undertook this nakedly personal project, in self-exile in Mexico, the director was a deeply bitter man out of favour with critics, the media, and the Hollywood establishment, which had just released his Pat Garrett & Billy the Kid in a mutilated version. "Bring Me the Head. " sounded like the parody title of an ultraviolent Sam Peckinpah movie, and he flung it in our faces just as his onscreen surrogate tosses the titular object at the camera. Thing is, the movie is a masterpiece-raw, shocking, beautiful, and brave-in which Peckinpah confronts his enemies and his own demons. Warren Oates plays a gringo piano-player stuck in Mexico who hears that some powerful men are willing to pay a bounty on a guy he knows. They don't know the guy is already dead, killed in a car accident. [+]

A milestone of the silent film era and one of the first "art films" to gain international acclaim, this eerie German classic from 1919 remains the most prominent example of German expressionism in the emerging art of the cinema. Stylistically, the look of the film's painted sets-distorted perspectives, sharp angles, twisted architecture-was designed to reflect (or express) the splintered psychology of its title character, a sinister figure who uses a lanky somnambulist (Conrad Veidt) as a circus attraction. But when Caligari and his sleepwalker are suspected of murder, their novelty act is surrounded by more supernatural implications. With its mad-doctor scenario, striking visuals, and a haunting, zombie-like character at its centre, Caligari was one of the first horror films to reach an international audience, sending shock waves through artistic circles and serving as a strong influence on the classic horror films of the 1920s, 30s, and beyond. It's a museum piece today, of interest more for its historical importance, but The Cabinet of Dr Caligari still casts a considerable spell. -Jeff Shannon, Amazon. com.

An effective exercise in "confined cinema", Panic Room is a finely crafted thriller that ultimately transcends the thinness of its premise. David Koepp's screenplay is basically Wait Until Dark on steroids, so director David Fincher (Seven, The Game) compensates with elaborate CGI-assisted camera moves, jazzing up his visuals. A relocated New York divorcée (Jodie Foster) and her diabetic daughter (Kristen Stewart) fight for their lives against a trio of tenacious burglars (Jared Leto, Forest Whitaker, Dwight Yoakam) in their new Manhattan townhouse. They're safe in a customised, impenetrable "panic room", but the burglars want what's in the room's safe, so mother and daughter (and Koepp and Fincher) must find clever ways to turn the tables and persevere. Suspense and intelligence are admirably maintained, with Foster (who replaced the then-injured Nicole Kidman) relying on her Silence of the Lambs resourcefulness. It's not as viscerally satisfying as Fincher's previous thrillers, but Panic Room definitely holds the viewer's attention. -Jeff Shannon, Amazon. com.

Samuel L Jackson and Colin Farrell swagger through S. W. A. T. , a guns-and-big-trucks macho extravaganza based on the 1970s TV show of the same name, in which police teams are brought in to take care of extremely dangerous situations. Jackson plays a sergeant brought out of retirement to form a new squad, which includes rebellious Farrell and tough babe Michelle Rodriguez. After a lot of training and head-butting with a smarmy police captain, the squad gets assigned to transfer the head of a European crime cartel (Olivier Martinez) who's declared on television that he'll give $100 million to anyone who gets him out. Every scumbag in Los Angeles descends to claim the money, turning a routine transfer into a bullet-filled gauntlet. Despite some gaps in logic and a generic flavour, S. W. [+]