Alfred Burke stars as private eye Frank Marker in the long running drama series featuring all 13 episodes from the final 1975 series.

By the time Alfred Hitchcock's second-to-last picture came out in 1972, the censorship restrictions under which he had laboured during his long career had eased up. Now he could give full sway to his lurid fantasies, and that may explain why Frenzy is the director's most violent movie by far-outstripping even Psycho for sheer brutality. Adapted by playwright Anthony Shaffer, the story concerns a series of rape-murders committed by suave fruit-merchant Bob Rusk (Barry Foster), who gets his kicks from throttling women with a necktie. This being a Hitchcock thriller, suspicion naturally falls on the wrong man-ill-tempered publican Richard Blaney (Jon Finch). Enter Inspector Oxford from New Scotland Yard (Alex McCowan), who thrashes out the finer points of the case with his wife (Vivian Merchant), whose tireless enthusiasm for indigestible delicacies like quail with grapes supplies a classic running gag. Frenzy was the first film Hitchcock had shot entirely in his native Britain since Jamaica Inn (1939), and many contemporary critics used that fact to account for what seemed to them a glorious return to form after a string of Hollywood duds (Marnie, Torn Curtain, Topaz). Hitchcock specialists are often less wild about it, judging the detective plot mechanical and the oh-so-English tone insufferable. But at least three sequences rank among the most skin-crawling the maestro ever put on celluloid. There is an astonishing moment when the camera backs away from a room in which a murder is occurring, down the stairs, through the front door and then across the street to join the crowd milling indifferently on the pavement. There is also the killer's nerve-wracking attempt to retrieve his tiepin from a corpse stuffed into a sack of potatoes. [+]

Tough but moving, Thunderheart is an unusual story about an arrogant FBI agent (Val Kilmer) who participates in a federal investigation of a murder on an Oglala Sioux reservation. Kilmer's character is part Sioux himself, a detail that leaves him cold as he sets about pushing his way through the community to find facts on the case. In time, however, he begins to feel an ethnic tug and grows increasingly sympathetic to the locals and hostile toward his fellow G-men, much to the dismay of his agency mentor (Sam Shepard). The script is based on real events that occurred on the Pine Ridge Reservation in 1975 in South Dakota (involving an armed stand-off between Indian activists and the FBI, an event that prompted Thunderheart director Michael Apted to make a companion documentary, Incident at Oglala). The conclusion of Thunderheart feels like politically charged whimsy, but the real strength of the film is Kilmer's outstanding performance as a man in transformation. Apted's clear-eyed depiction of the Sioux's spiritual and cultural continuity with the past has none of the cloying romanticism of other films about Indians. Produced by Robert De Niro. -Tom Keogh, Amazon. com -This text refers to the VHS edition of this video.

Not to be confused with the 2002 Matt Damon big-screen version, this adaptation of The Bourne Identity is a 1988 two-part TV miniseries based on the Robert Ludlum paperback bestseller. "How can I find out who I am if I've been turned into another person?", cries amnesiac Richard Chamberlain, fished out of the sea by drunken doc Denholm Elliott, who patches him up and discovers a Swiss bank account number sewn into his thigh. Coming to believe that he is Jason Bourne, international assassin, our hero is sought after by the CIA, several European police forces and the gang of an evil terrorist. He hooks up with unlikely economist Jaclyn Smith to get to the bottom of the mystery, stay alive and face the big baddie. Stretched over three hours, this has room for a lot of the complex plot dropped from the big-screen movie, but it also means that the thrills are often interrupted by soap opera scenes. Chamberlain is perhaps too aptly cast as a man without an identity, but Smith matches him for lack of expression without any excuse given in the script. Aside from Donald Moffatt and Shane Rimmer in the CIA, the supporting cast mostly consists of distinguished Brits delivering value-for-money ham, mostly with cod-French accents, especially Anthony Quayle as a DeGaulle-style General, Jacqueline Pearce as a dress-designing spy and Peter Vaughan as a heavy Swiss banker. On the DVD: The Bourne Identity, though made for TV, is presented in widescreen, which sometimes chops off the tops of actors' heads like breakfast eggs but mostly looks fine. There are optional English subtitles. -Kim Newman.

Gangster No. 1 is without doubt the most stylish British violent crime thriller from the many produced at the end of the 20th century. For all the pop-video glamour of Guy Ritchie's Lock, Stock, and Two Smoking Barrels and Snatch, neither have anywhere near as much a sense of danger as is shown here. Paul Bettany ignites the screen with a fury that explodes far more than it smoulders beneath his tautly kept temper. The tale concerns his ascent to the titular position of primacy in 1960s London, told in flashback by his present-day self (an equally riveting Malcolm McDowell). A lust for power won't allow anything to stand in either incarnation's way, especially the foppish posturing of established crime boss Freddie Mays (David Thewlis). What distinguishes this from many other tales of greed is that the never-named Gangster actually wants to be Freddie, not simply replace him. Saffron Burrows plays the suffering trophy moll in the middle of this personality clash and provides about the only level head and gentle tongue in what is otherwise a super-violent and super-profane script. This is what The Krays should have been, and therefore not for the squeamish. -Paul Tonks.

An experimental film masquerading as a standard Hollywood thriller. The plot of Rope is simple and based on a successful stage play: two young men (John Dall and Farley Granger) commit murder, more or less as an intellectual exercise. They hide the body in their large apartment, then throw a dinner party. Will the body be discovered? Director Alfred Hitchcock, fascinated by the possibilities of the long-take style, decided to shoot this story as though it were happening in one long, uninterrupted shot. Since the camera can only hold one 10-minute reel at a time, Hitchcock had to be creative when it came time to change reels, disguising the switches as the camera passed behind someone's back or moved behind a lamp. In later years Hitchcock wrote off the approach as misguided, and Rope may not be one of Hitchcock's top movies, but it's still a nail-biter. They don't call him the Master of Suspense for nothing. James Stewart, as a suspicious professor, marks his first starring role for Hitchcock, a collaboration that would lead to the masterpieces Rear Window and Vertigo. -Robert Horton, Amazon. com.

Ira Levin's scary novel about forced conformity in a small Connecticut town made the Stepford Wives a compelling 1975 thriller. Katharine Ross stars as a city woman who moves with her husband to Stepford and is startled by how perpetually happy many of the local women seem to be. Her search for an answer reveals a plot to replace troublesome real wives with more accommodating fake ones (not unlike the alien takeover in The Invasion of the Body Snatchers). The closer she gets to the truth, the more danger she faces-not to mention the likelihood that the men in town intend to replace her as well. Screenwriter William Goldman (Butch Cassidy and the Sundance Kid) and director Bryan Forbes (King Rat) made this a taut, tense semi-classic with a healthy dose of satiric wit. -Tom Keogh, Amazon. com.

Peter Berg's dark comedy about a bachelor party gone horribly awry is highly ambitious in its attempts to satirise suburbia, male bonding, and self-help philosophy, and for the most part it does succeed in hitting its targets with a malicious, misanthropic glee. When five buddies arrive in Las Vegas for some pre-wedding shenanigans, things quickly spiral out of control when the requisite prostitute falls victim to a grisly accident, igniting a spark in an already unstable powder keg of personalities. Following the lead of real estate agent and self-help guy Robert (Christian Slater), the men warily agree on a cover-up and covert desert burial. A couple hours and another corpse later, however, they're already at each other's throats, and their escalating breakdowns threaten to disrupt the highly prized wedding of hard-as-nails bride Laura (a stunning Cameron Diaz). Berg, like most actor-turned-directors (this is The Last Seduction star's filmmaking debut) helms the film with a wildly sliding tone and tends to weigh its strengths heavily on its performers. Slater's psycho turn is by far his most inventive yet (he's more in control than ever before), Diaz effectively mixes sunshine with poison, and Jon Favreau is effective and understated as the hapless bridegroom; the rest of the cast, however, tends to play up the histrionics. Be warned, though: Those expecting a sunny-style There's Something About Mary gross-out comedy will probably be shocked by Berg's take-no-prisoners agenda; this is comedy at its absolute blackest, and no one is spared. -Mark Englehart.

The discovery of a dead female staffer in a White House restroom galvanizes a D. C. homicide cop (Wesley Snipes), but the results aren't hard to predict: the crime implicates the Oval Office, the presidential bureaucracy impedes the investigation, and so on. What isn't so predictable is that the whole thing leads to an improbable climax involving secret tunnels created by Abraham Lincoln. (Snipes's character, by the way, is a Civil War buff. ) The creaky mystery feels a little anachronistic from the get-go, with some particularly corny and laughable dialogue. -Tom Keogh.

Numerous critics had already sharpened their knives even before Gus Van Sant's shot-for-shot colour "re-creation" of the 1960 black-and-white Hitchcock classic was released, chiding the Good Will Hunting director for defiling hallowed ground. But this intriguing cinematic curiosity is hardly as sacrilegious as critics would lead you to believe. If anything, Van Sant doesn't take enough liberties with his almost slavish devotion to the material, now updated with modern references. At times, you wish Van Sant would cut loose with a little spontaneity, a little energy, a little something. Unfortunately, when he does venture outside Hitchcock's parameters-with inserted shots of storm clouds during the murder sequences, for example-it's to little effect. Granted, he liberally splashes colour throughout the film (especially in the case of the infamous shower scene), and this is a great-looking movie, but in his obsession with adding a new physical dimension to the film, there's little insight into these characters that Hitchcock hadn't already provided. Vince Vaughn, a robotic and giggly Norman, doesn't crawl under your skin the way boy-next-door Anthony Perkins did, and Anne Heche is admirable if not very sympathetic in the Janet Leigh role. Van Sant does score a minor coup, though, in his casting of the supporting roles: Julianne Moore provides a welcome shot of energy as Heche's irritable and curious sister, William H. Macy is a perfect small-time detective, Viggo Mortensen is studly enough to make you understand why Heche would want to run away with him, and James LeGros walks away with his one brief scene as a used car salesman. Danny Elfman's gorgeous rerecording of Bernard Herrmann's score is a potent supporting character unto itself. [+]

On the timeline of successful TV cop dramas, Kojak offered bold authenticity and paved the way for NYPD Blue. As immortalised by Telly Savalas, veteran detective Theo Kojak was introduced in the 1973 TV movie The Marcus-Nelson Murders, a ratings hit that encouraged CBS and writer-producer Abby Mann to create a trend-setting series (based on a book by Selwyn Raab) that premiered on October 24 of that year. The Greek, bald-headed, snappily attired Kojak brought no-nonsense bravado to homicide cases in South Manhattan-a setting that lent a gritty, urban edge to intelligent plots that won the respect of real cops with an emphasis on diligent police work instead of overblown action and phony glamour. While working cases with his captain Frank McNeil (Dan Frazer) and closest colleagues Crocker (Kevin Dobson) and Stavros (played by Savalas's brother George, credited as "Demosthenes" for the first two seasons), Kojak had a knack for bending the rules (but never breaking them) if he knew it would solve a crime. Kojak came at a perfect time for Savalas and cop dramas in general. The actor's career was slumping in the early '70s (he'd just appeared in the Italian horror film Lisa and the Devil), and he quickly put his personal stamp on the role with street-wise sarcasm and trademark lollipops (a perfect prop that Savalas adopted to quit smoking). Consistently well-written, the series was realistically rooted in a broad spectrum of New York City crime. These qualities attracted plenty of fresh and established talent, and these 22 well-preserved episodes include guest appearances by Harvey Keitel, James Woods, Richard Jordan, Hector Elizondo, John Ritter (in one of his first TV roles), Paul Michael Glaser, Dabney Coleman, Tina Louise, and a host of familiar TV veterans. For this debut season, Savalas won the Emmy Award for Outstanding Lead Actor in a Drama Series, and Kojak ran for five well-rated seasons, followed by several TV-movie revivals in 1985, 1989, and 1990. The enduring popularity of Kojak was further proven when the show was revived yet again in March of 2005, with Ving Rhames in the title role. [+]

One of the overlooked films of the 1980s, perhaps because it is such a downbeat tale of an amoral family. Sean Penn plays a kid whose small-time criminal impulses are stoked to a new level when he falls in with his father (Christopher Walken), a vicious career criminal for whom no problem is so large that it can't be solved by a murder. At first exhilarated by the attention from his father (and the jobs he gives him to do), he gradually catches on to just what a bad guy Dad really is. But when he tries to extricate himself, he discovers that Dad now has him squarely in his sights. Penn is terrific in a role of emotional complexity, while Walken, king of the creeps, is positively frightening as this soft-spoken but highly lethal patriarch. -Marshall Fine.