With good production values and a load of suspense, the direct-to-video thriller Atomic Train delivers the goods-ahead of schedule. A rich bureaucrat with a Porsche, a goatee and a defective sense of morality places a defective Russian nuclear warhead aboard a defective American train for cheap disposal but the engine loses its brakes and hurls out of control toward Denver. Will it explode? Will it wipe out half the city? Will the thoughts and prayers of the President-played by Edward Herrmann, in his best Chrysler-salesman mode-do any good? Will Rob Lowe, the major hero of this epic, ever be able to save his career? Atomic Train hauls along every disaster-flick formula you can think of: an estranged couple bonding again during a time of crisis; urban rioting and mayhem; government officials wearing headsets and breathlessly watching video monitors; trigger-happy military men; high-speed stunts; escapes by helicopter; clean-up crews in white spacesuits; many scenes of families being reunited after sub-plot cliffhangers, to major-key crescendos on the soundtrack. The only stereotypical element missing is a dog saved from a fire at the last minute. But, you have to admit, what Atomic Train does it does with pizzazz, a post-Armageddon tone of overly heroic but ultimately disposable machismo and explosions. lots of explosions. -Robert Burns Neveldine, Amazon. com.

It's easy to understand why Arlington Road sat on the studio shelf for nearly a year. No, the film isn't awful; rather, it's an extremely edgy and ultimately bleak thriller that offers no clear-cut heroes or villains. In other words, Hollywood had no idea how to sell it. Director Mark Pellington's underrated directorial debut, Going All the Way, suffered the same fate, essentially because the film-maker's presentation of suburban America often shifts dramatically within the same film. Characters are usually miserable and bordering on meltdown, no situation is straightforward and things usually end badly. Arlington Road begins as an astute study of suburban paranoia. Michael Faraday (a face-pinched Jeff Bridges, who spends most of the film on the brink of tears) is a college professor who teaches American history courses on terrorism. He's been a conspiracy freak since his wife, an FBI agent, was killed during a botched raid that feels like a thinly fictionalised reference to the Waco tragedy. After saving the life of his next-door neighbour's child, he initially befriends the family (Tim Robbins and Joan Cusack), but soon believes the husband is a terrorist. The first half of the film mocks Faraday: he has no real evidence and is not the most stable of protagonists. [+]

A medical horror movie from Germany, Anatomy is every bit as slick as its Hollywood equivalents (most notably Coma) but cuts a lot deeper thanks to its connections with a Gothic past. Brilliant medical student Paula Haller (Franka Potente) is accepted into a prestigious summer anatomy course at Heidelberg University and gradually learns that many of her teachers and classmates are members of the Antihippocratic League. This secret society carries out unethical vivisection experiments on live human specimens and has been active in the medical profession since the 16th century with a special peak during the Third Reich. Director-writer Stefan Ruzowitsky plays some distinctive and personal games as the heroine uncovers the conspiracy, then learns that her own family is intimately connected with the League. In gruesome but delicate horror scenes, kidnapped human specimens awake anaesthetised to the sound of easy-listening music as masked students dissect them alive to create the impressive, grotesque and beautifully preserved cutaway specimens used in the anatomy classes. Potente, the star of Run, Lola Run, has a very different role as the serious but passionate heroine and her character is affected by the revelations of the plot in a way that deepens the movie beyond the terrific suspense mechanisms of its lady-in-peril climax, in which Paula's medical knowledge and personal grit enable her to fight back. A great moment has the heroine forced to instruct her non-medical student boyfriend (Sebastian Blomberg) how to administer a simple but crucial intravenous injection to save her life, while the plausible villain turns out to be a renegade even by the standards of his secret society. On the DVD: An extremely high-quality DVD, this offers a pristine widescreen transfer (1:2. 35) of the film (enhanced for 16:9 TVs); soundtracks in German, Spanish and English with optional subtitles in English, German and a dozen other languages; a full-length commentary in German by Ruzovitsky, with English subtitles; a couple of deleted scenes, with director commentary; on-set interviews with the cast and crew and a snippets of behind-the-scenes footage; a music video by co-star Anna Loos, shot on the set of the film; trailers; filmographies; and a neat animated menu. -Kim Newman.

The director of Dead or Alive, Takashi Miike, made his name on the international scene with Audition, a chilling psychological thriller that builds from a quiet start towards a prolonged torture sequence almost too unbearable to watch. But such deliberate pacing isn't typical of Miike, whose movies often assault the viewer with an onslaught of slam-bang action that makes John Woo look like Eric Rohmer. Dead or Alive, his most successful cops-vs-yakuza thriller to date, kicks off with six non-stop minutes of machine gun-paced violence, sex and slaughter, all set to a pounding heavy-metal beat. Thereafter things calm down a little, though not much. Given Miike's penchant for murky, livid-toned visuals and skewed camera angles, it's not always too easy to work out exactly who's doing what to whom, but the general outline's clear enough. The Tokyo underworld is being torn apart by a turf war between the yakuza gangs and the invading Chinese triads. Ambitious yakuza member Ryuichi isn't above playing both sides off against each other in his bid for power, while police detective Jojima, himself none too scrupulous in his methods, is out to destroy the gangs. Into this conventional plot framework Miike piles enough warped characters and bizarre, twisted happenings to fuel half-a-dozen Tarantino movies, while cheerfully borrowing-and inflating-key moments from such hard-boiled gangster-noirs as The Big Heat and Kiss Me Deadly. One character deep-fries his own hand, a stripper is drowned in a paddling-pool filled with her own excrement, and the literally apocalyptic finale, the showdown to end all showdowns, will leave you gasping. The appallingly prolific Miike, who regularly makes about five movies a year, has since directed two sequels-the first only three months after the original. [+]

A rash of daring bank robberies erupt in which the bad guys all wear the masks of worse guys-former presidents (nice touch). Johnny Utah (Keanu Reeves), an impossibly named former football star who blew out his knee and became a studly crime-busting fed instead, figures out that none of the heists occur during surfing season and all of them occur when, so to speak, surf's down. So obviously, he reasons, we're dealing with some surfer-dude bank robbers. He goes undercover with just such a group, led by a very spiritual, very guru-type guy played by Patrick Swayze, who has some muddled philosophies when it comes to materialism. If you can buy all that, this efficiently directed (by Kathryn Bigelow) action flick has some diverting moments (credit it, for example, for anticipating the extreme-sports fad). But Reeves' intelligent-sounding lines don't make him seem remotely intelligent and that plot makes him look positively brilliant. -David Kronke Efficiently directed by Kathryn Bigelow and featuring some diverting action scenes, 1991's Point Break can be credited with anticipating the extreme-sports fad. A rash of daring bank robberies erupt in which the bad guys all wear the masks of worse guys-former presidents (nice touch). Johnny Utah (Keanu Reeves), an impossibly named former football star who blew out his knee and became a crime-busting federal agent instead, figures out that none of the heists occur during surfing season and all of them occur when, so to speak, surf's down. So obviously, he reasons, we're dealing with some surfer-dude bank robbers. [+]

Only two years separate The Fourth Man, the final Dutch language movie by director Paul Verhoeven, and the explosive commencement of his Hollywood career. Controversy raged about violence in Flesh + Blood, RoboCop and everything else he made thereafter. Yet controversy has always been a part of the filmmaker's work. This savage comedy shocker could well be seen as a trial run for Basic Instinct, since it features an ice-cold seductress (Renee Soutendijk) with mysterious motivations and sexual preferences. The hallucinatory tale follows a novelist (Jeroen Krabbé) first falling for her, and then feverishly investigating whether she's a serial husband killer. The film is full of what would soon be recognised as Verhoeven trademarks: a little blasphemy, a lot of nudity, dispassionate characters and hidden agendas. One of the aspects that caught the eye of international audiences was the film's colourful lighting and camerawork. This was from Jan de Bont, who, thanks in large part to Verhoeven, would go on to direct Speed and others. Many prints of the movie were edited around the world, but it's presented here uncut. Full of symbolic flourishes and allegorical plot points, this is a dizzying display of the type of black comedy that not even Verhoeven can get away with in today's politically aware industry. [+]

The legendary story that hovers over Orson Welles' The Stranger is that he wanted Agnes Moorehead to star as the dogged Nazi hunter who trails a war criminal to a sleepy New England town. The part went to Edward G. Robinson, who is marvellous, but it points out how many compromises Welles made on the film in an attempt to show Hollywood he could make a film on time, on budget and on their own terms. He accomplished all three, turning out a stylish if unambitious film noir thriller, his only Hollywood film to turn a profit on its original release. Welles stars as unreformed fascist Franz Kindler, hiding as a schoolteacher in a New England prep school for boys and newly married to the headmaster's lovely if naive daughter (Loretta Young). Welles, the director, is in fine form for the opening sequences, casting a moody tension as agents shadow a twitchy low-level Nazi official skulking through South American ports and building up to dramatic crescendo as Kindler murders this little man, the lovely woods becoming a maelstrom of swirling leaves that expose the body he furiously tries to bury. The rest of the film is a well designed but conventional cat-and-mouse game featuring an eye-rolling performance by Welles and a thrilling conclusion played out in the dark clock tower that looms over the little village. -Sean Axmaker.

Essentially a cautionary tale of slightly futuristic cyber-terrorism, Netforce carries Tom Clancy's heavyweight name as the executive producer (but not writer). Don't expect a drama on the level of Patriot Games, however: Netforce is a blunt and somewhat rushed thriller with little time for character or relationship development. What it does offer is a scenario for the prospect of organised crime uniting with computer geeks and malevolent industrialists to sabotage national security through attacks on the Internet. Scott Bakula plays the FBI agent in charge of the Netforce division of the bureau; he takes charge after his mentor (Kris Kristofferson) is murdered and the investigation points to the involvement of a Web pioneer (Judge Reinhold). The hero's romance with a colleague (Joanna Going) grows a little trickier after he promotes her to the number two spot behind himself, but with the president's chief of staff (Brian Dennehy) breathing down their necks, that's the least of their professional problems. The action bounces around from good guys to sundry bad guys, but there's no question that a creeping paranoia about Net vulnerability and its disastrous implications grows on this production-and the viewers. -Tom Keogh, Amazon. com.

Yet another serial killer drama, Knight Moves is perhaps a little too in love with its own ingenuity. Chess Grand Master Peter Sanderson (Christopher Lambert) finds himself, in the middle of a crucial tournament, challenged to a game whose rules he does not know, by a killer who will murder women until Sanderson stops him. The local police, headed by Sedman (Tom Skerrit), suspect this is actually a game Sanderson is playing with them; while Kathy, a woman profiler brought in on the case, finds herself falling in love with Sanderson but still suspecting him. None of the performances are more than competent and Lambert's aloof neurotic is perhaps less likable than was intended. Director Carl Schenkel is too fond of odd camera angles and garish lighting, but the end result is a moderately successful detective story for those who are fond of puzzles. On the DVD: Knight Moves is ungenerous with special features, providing a bare minimum of filmographies, photo gallery and trailer. It has a visual aspect ratio of 2. 35:1 and Dolby Digital sound. -Roz Kaveney.

Billy Connolly has made the transition from comedy to straight dramatic roles with a great deal more success than most. In The Debt Collector he plays Nicky Dryden, a violent debt collector who has served 18 grim years in prison, only to have found rehabilitation on the outside as a successful sculptor and respectability in marriage to Francesca Annis. However, Keltie (Ken Stott) the policeman who originally arrested him is disgusted at this ex-con's social elevation and undertakes an obsessive campaign of stalking and harassment, refusing to allow him to bury his past. It is Keltie, in a sense, who is the true debt collector of the title-he doesn't believe Dryden either has or ever can repay society. Furthermore, Dryden is idolised by a young thug (Iain Robertson) who bases his psychotic lifestyle on Dryden's past exploits. Stott and Connolly make excellent, craggy adversaries, with the frustrated, embittered ex-cop cutting a menacing, though at times pathetic character, while Connolly's Dryden knows that his past, violent side is capable of erupting at any time. This gloomily compelling drama has moments of sickeningly concussive impact as it winds its way down to its tragic conclusion. Annette Crosbie as Keltie's vulnerable yet curiously strong Mother, turns in a fine supporting performance. -David Stubbs.