Roman Polanski's brooding film noir exposes the darkest side of the land of sunshine, the Los Angeles of the 1930s, where power is the only currency-and the only real thing worth buying. Jack Nicholson is J J Gittes, a private eye in the Chandler mould, who during a routine straying-spouse investigation finds himself drawn deeper and deeper into a jigsaw puzzle of clues and corruption. The glamorous Evelyn Mulwray (a dazzling Faye Dunaway) and her titanic father, Noah Cross (John Huston), are at the black-hole centre of this tale of treachery, incest and political bribery. The crackling, hard-bitten script by Robert Towne won a well-deserved Oscar, and the muted colour cinematography makes the goings-on seem both bleak and impossibly vibrant. Polanski himself has a brief, memorable cameo as the thug who tangles with Nicholson's nose. Chinatown is one of the greatest, most completely satisfying crime films of all time. -Anne Hurley Roman Polanski's brooding film noir exposes the darkest side of the land of sunshine, the Los Angeles of the 1930s, where power is the only currency-and the only real thing worth buying. Jack Nicholson is JJ Gittes, a private eye in the Chandler mould, who during a routine straying-spouse investigation finds himself drawn deeper and deeper into a jigsaw puzzle of clues and corruption. The glamorous Evelyn Mulwray (a dazzling Faye Dunaway) and her titanic father, Noah Cross (John Huston), are at the black-hole centre of this tale of treachery, incest, and political bribery. The crackling, hard-bitten script by Robert Towne won a well-deserved Oscar, and the muted colour cinematography makes the goings-on seem both bleak and impossibly vibrant. [+]

At first glance, René Clair might seem an odd match for Agatha Christie's mystery thriller And Then There Were None, but his buoyant touch is exactly what is missing from so many overly solemn remakes. Ten strangers gather for a mysterious gathering on a secluded island. It turns out to be a farewell party, for they have all been sentenced to die for crimes in their past by a self-appointed judge, jury and executioner who could be one of them. One by one, the guests are systematically dispatched as described in the lyrics of the children's rhyme "Ten Little Indians", while the survivors nervously eye one another, splintering into tenuous alliances until the next murder throws suspicion on someone new. A terrific cast of character actors have a ball with Dudley Nichols's witty script. The flamboyant sparring of Barry Fitzgerald (whose paternal Irish lilt takes a sinister dimension) and Walter Huston is almost upstaged by Roland Young's deadpan drollery. Romantic leads Louis Hayward and June Duprez come off as arch and stiff in a company that includes a sinisterly detached Judith Anderson, a dotty and distracted C Aubrey Smith, and a hilariously flippant Mischa Auer. The story has been remade numerous times under the title of Christie's novel, Ten Little Indians, but never as well as this 1945 version. Clair's effervescent, lively little gem is a fatal drawing-room comedy with a body count and a surreal mood of doom. -Sean Axmaker, Amazon. [+]

Part road movie, part romantic comedy, part thriller and a whole lotta fun, The Mexican could get by on star power alone, but it offers Brad Pitt, Julia Roberts and a clever plot full of delightful surprises. It's a thoroughly enjoyable shaggy-dog story in which the downtrodden Jerry Welbach (Pitt) copes with a dual dilemma: his girlfriend Samantha (Roberts) has just dumped him to pursue solo ambitions in Las Vegas, and a manipulative mobster has ordered Jerry to Mexico to retrieve a coveted antique pistol (the "Mexican" of the title) that carries a legacy of legend, death and danger. Jerry soon has his hands full with bandits, bloodshed, and a grizzly hound dog that vanishes and reappears with amusing regularity. En route to Vegas, Samantha's taken hostage by a burly assassin (James Gandolfini) who's attached to the gun-fetching scheme and is, in more ways than one, not who he seems to be. Like a good magic act, JH Wyman's original screenplay distracts you from its gaps of logic, using unexpected revelations to fuel its strategic vitality. It also provides a wealth of character development, and director Gore Verbinski (Mouse Hunt) gives his stellar cast equal time to shine. It hardly matters that Pitt and Roberts spend most of the film apart; their time together is worth waiting for, and the machinations that separate them play out like a cross between vintage Peckinpah and Romancing the Stone. And why is the accursed pistola so valuable? That's just another surprise, setting the stage for the arrival of yet another big-name star, whose motivations are pure in a film full of double-crosses and darkly shaded humour. With a giddy plot such as this, star power is just icing on the cake. -Jeff Shannon, Amazon. [+]

Based on a novel by Susan Isaacs, Shining Through is uncomfortably close to Alfred Hitchcock's Notorious. This World War II drama concerns a love affair between a spy (Michael Douglas) and a secretary (Melanie Griffith) that goes south when duty turns him cold and pushes her into dangerous, behind-the-lines intelligence work. Liam Neeson plays the gentleman Nazi unwittingly providing Griffith with cover as domestic help. The best parts of the film are the twists and turns in the romance (Douglas is very good at playing a character who can turn off all feeling at will) at the beginning; the German scenes are less compelling despite such high stakes for the heroine. The climax-taking us back to Notorious whether it wants to or not-is quite gripping, largely due to Douglas's performance. -Tom Keogh.

In 1944, Ingrid Bergman took home a Best Actress Oscar for her work as the neurotic, persecuted wife in Gaslight, a thundering melodrama based on the play by Patrick Hamilton. At the heart of the piece is a splendidly cruel scenario as a husband (Charles Boyer) subtly drives his wife out of her mind in a house suffocating with Victorian clutter. But MGM production gloss and George Cukor's broad strokes direction make this a less affecting, suspenseful effort than the 1939 British film version with Anton Walbrook and Diana Wynyard. Bergman has a succession of big, impressive mad scenes that show off her acting muscles-and is given the full Hollywood glamour lighting and costuming to highlight her personal beauty-while Boyer comes alive as he salivates over the missing jewels. The best work comes from a teenage Angela Lansbury (in her screen debut) as an impudent, sexy-sinister maidservant, undermining her mistress at every turn and pouting to perfection. On the DVD: Gaslight on disc includes a trailer, a newsreel snippet of Bergman getting her Oscar and a nice featurette with Pia Lindstrom (Bergman's daughter) and Lansbury talking about the film. -Kim Newman.

David Lynch's Lost Highway is one of the most puzzled over movies of the 1990s. After Twin Peaks and Wild at Heart audiences were prepared for more questions than answers. But this mystery is without doubt the most sinister and disturbing of all his work, which is to say it's arguably the most worthy of puzzling out. Bill Pullman goes to jail for murdering his wife Patricia Arquette the Brunette. He metamorphoses into Balthazar Getty who falls for Patricia Arquette the Blonde. They're involved in many bad things. Getty morphs back to Pullman who's left with neither girl, but a lot of explaining to do about how Robert Loggia was involved with both and who/what on earth Robert Blake is. There are no straight answers. It might just be possible to twist the film into a Moebius strip and work out half the chronology, but that would be missing the point. Lynch makes paintings that move and if they happen to tell a tale (thank you The Straight Story), that's just a happy by-product. [+]

When it comes to ramping up to vein-bursting levels of tormented anxiety , Mel Gibson has a kind of mainstream intensity that makes him perfect for his heroic-father role in director Ron Howard's child-kidnapping thriller. When you think of Ransom, you automatically think of the scene in which Mel reaches his boiling point and yells, "Give me back my son!" to the kidnapper on the other end of a phone. Trapped in the middle of any parent's nightmare, Mel plays a self-made airline mogul whose son (played by Brawley Nolte, son of actor Nick Nolte) is abducted by a close-knit group of uptight kidnappers. But when a king's ransom is demanded for the child's safe return, Mel turns the tables and offers the ransom as reward money for anyone who provides information leading to the kidnappers' arrest. Thus begins a nerve-racking battle of wills and a test of the father's conviction to carry out a plan that could cost his son's life. The boy's mother (played by Rene Russo, reunited with Gibson after Lethal Weapon 3) disapproves of her husband's life-threatening gamble, and a seasoned FBI negotiator (Delroy Lindo) is equally fearful of disaster as the search for the kidnappers intensifies. Through it all, Howard maintains a level of nail-biting tension to match Gibson's desperate ploy, and the plot twists are just clever enough to cancel out the overwrought performances and manipulative screenplay. Ransom may not be as sophisticated as its glossy production design would suggest, but it's a thriller with above-average intelligence and an emotion-driven plot that couldn't be more urgent. Adding to the intensity is a superior supporting cast including Gary Sinise, Lili Taylor and Liev Schreiber as the kidnappers, who demonstrate that even the tightest scheme can unravel under unexpected stress. Remade from a 1956 film starring Glenn Ford, Ransom is diluted by a few too many subplots, but as a high-stakes game of cat and mouse, it's a slick and satisfying example of Hollywood entertainment. [+]

From its gritty documentary look to its signature note-knocking "tching-tching" that signals scene changes, Law & Order was a groundbreaking cop show when it debuted in 1990. It is television's most resilient series, surviving huge changes to its ensemble. One of the secrets of the show's durability is its compelling structure. The first half of each hour-long episode is a classic police procedural in which "Law", personified in the first season by partners Greevey (George Dzundza) and Mike Logan (Christopher Noth) investigate a crime and make an arrest. The second half chronicles the ensuing trial, as prosecuted by assistant district attorneys Ben Stone (Michael Moriarty) and Paul Robinette (Richard Brooks) under the supervision of Steven Hill's Adam Schiff (more feisty and animated here than in later seasons). Law & Order is also distinguished by its superb writing. Several episodes take their inspiration from the headlines, including "By Hooker, By Crook" (about a socialite-run call-girl ring) and "Indifference", which recalls the tragic Lisa Steinberg child abuse case. Others deal with such hot-button issues as abortion ("Life Choice") and AIDS ("The Reaper's Helper"). Another plus is the talent pool of character actors who lend their verisimilitude. Guest stars include Samuel L Jackson and Philip Seymour Hoffman ("The Violence of Summer"), The West Wing's John Spencer ("Prescription for Death"), Sex and the City's Cynthia Nixon ("Subterranean Homeboy Blues") and The Sopranos' Dominic Chianese ("Sonata for Stolen Organ"). [+]