Pandora couldn't resist opening the forbidden box containing all the delusions of mankind, and let's just say in Mulholland Drive David Lynch indulges a similar impulse. Employing a familiar film noir atmosphere to unravel, as he coyly puts it, "a love story in the city of dreams", Lynch establishes a foreboding but playful narrative in the film's first half before subsuming all of Los Angeles and its corrupt ambitions into his voyeuristic universe of desire. -Fionn Meade David Lynch's Lost Highway is one of the most puzzled-over movies of the 1990s. But there are no straight answers. This film is "about" a lot of things: obsession, the impossible notion of owning a partner, why tailgating is wrong. Beyond that, it's about nothing more than enjoying just how sensually delicious everything looks and sounds on Lynch's Highway. -Paul Tonks Eraserhead is a horror movie unlike any other. A fuzzy-haired young man, trapped in his apartment, has a series of nightmarish experiences, among which is a scene in which his head is used to make the rubbers that fit on the ends of pencils. -Nikki Disney.

As courtroom dramas go, Suspect (1987) has plenty to commend it-not least the genuine, mounting suspense, well-drawn characters who really make you care about the outcome, great use of Washington locations and excellent performances. As Kathleen Riley, the public defender with the thankless task of helping a homeless mute Vietnam veteran to face a particularly nasty murder charge, Cher provides a complex character study: loneliness, danger, long hours in a gruelling profession and patronising judges have so far failed to snuff out her basic ideals. She is well-matched by Dennis Quaid's charming rogue lobbyist Eddie Sanger who compromises her professional integrity from the juror's bench but ultimately proves an invaluable ally, and Liam Neeson who evokes real pathos as the accused man. Frazier fans should note an altogether darker side of John Mahoney, who plays the psychiatrist's father in the sitcom, in his performance as the presiding judge. With its literate script, Suspect is a high quality film which comprises multiple layers of plot and character. Like all really good mysteries, it stands repeated viewing. On the DVD: Alongside the usual filmographies for the main actors and director Peter Yates, and trailers for other Columbia Tristar releases, this DVD has an extremely useful and incisive Director's Commentary. No intrusive self-indulgent pondering here: Yates talks gently and lucidly about all the key elements of filmmaking. He speaks with real respect and affection about his actors. Most interesting of all, he has some salient points to make about the way films are processed for DVD and video release, like lightening them so that suspense scenes in which darkness plays a key part are diluted. [+]

A welcome second volume of classics from the Master of Suspense, this seven-disc Hitchcock Collection box-set consists of the following: The Birds: Based on a Daphne Du Maurier short story, The Birds (1963) is Hitchcock at his most terrifying, as the residents of a small town are attacked by thousands of apparently homicidal birds. Marnie: Tippi Hedren and newly Bonded Sean Connery star in this excellent 1964 thriller, which finds a calculating thief who robs her employers pursued by a her new boss, who is desperate to unlock her secrets Torn Curtain: This 1966 spy thriller, pairing Paul Newman and Julie Andrews, finds Newman as a world-famous physicist intent on defecting to East Berlin in order to obtain funding for his latest project. Topaz: Based on the Leon Uris novel, Hitch's 51st film, made in 1969, concerns a CIA agent who learns of Russian missiles in Cuba. With the aid of a French agent, they negotiate a plethora of corruption and murder. Frenzy: This critically acclaimed 1972 film was Hitch's first British-made film for more than 20 years. A classic Hitch story of an innocent man accused of being the "necktie murderer"-a vicious sex criminal terrorising London-he eludes the authorities and seeks the real killer. Family Plot: Hitchcock's final film, made in 1976, is a blackly funny mix of murder, theft and kidnapping as a cab-driver and a psychic team up to find a dead man-not actually dead-in exchange for a $10,000 reward. Bonus Disc-Vertigo: An irreducible masterpiece, this 1958 double-identity thriller finds Hitch serving aces, as Jimmy Stewart's detective is drawn in to a complex plot when the girl he loves apparently falls to her death. On the DVD: Like the first volume, this is an equally impressive package that will satisfy the rotund fright-master's fans. Along with the standard selection of trailers, production notes and picture galleries, each disc houses an impressive "making of" documentary, each expertly detailing Hitch's meticulous work. [+]

An entry in the recent rash of crooks-falling-out cynical crime-comedy noirs, Four Dogs Playing Poker opens with a robbery at a wedding in Buenos Aires. Five friends pose as staff and guests to penetrate the secret collector's vault of lecherous father-of-the-bride George Lazenby and walk away with a valuable dancing-girl statue. Back in Los Angeles, the team are visited by their sponsor, hefty guest-star crook Forrest Whitaker, who tells them there's a question as to whether the statue is on the ship that's supposed to be smuggling it into the country. If it doesn't show up they'll have to cough up a million dollars between them or get killed. To underline the point and in the first of many "it-just-doesn't-make-sense" plot turns, Whitaker has his men shoot Tim Curry, organiser of the gang, in the leg and then, to show that trying to leave town is a bad idea, has him hung up dead in a meat locker with his feet chain sawed off (offscreen) by the comedy British double-act thugs. An unbelievably complicated scheme is hatched between the surviving four, two couples, whereby they each take out insurance policies that benefit the rest and pick cards and safety-deposit box-keys that identify one of them as the designated murderer and another as a victim. Naturally, suspicions simmer (one character, when asked if she distrusts her friends, replies "all my friends are thieves") and triple-crosses are hatched. The prolific Olivia Williams, in Lulu wig and American accent, emerges as the star, walking a knife-edge between imperilled heroine and cynical manipulator but she is ably supported by druggie, computer savvy Daniel London, hunky bartender Balthazar Getty and jittery insurance functionary Stacy Edwards. Familiar, if watchable. -Kim Newman.

In the typical Don Simpson-Jerry Bruckheimer mould(the partnership yielded Top Gun and Days of Thunder, among many other films), this 1995 drama is a combination of one-dimensional but enjoyable performances, lots of high-tech nonsense taking place onscreen, and mechanistic movie-making at its loudest and most seizure-inducing. Gene Hackman and Denzel Washington play nuclear submarine officers squaring off over the former's apparent intention to do some unauthorized damage to an enemy. Tony Scott (Top Gun) directed, bringing his lustre and pop commercial sense to go with all that Simpson-Bruckheimer eye candy. -Tom Keogh.

This 1997 thriller For Hire ponders the question of what terrible things a person might be persuaded to do, given the right circumstances and the right price. Rob Lowe plays Mitch, a Chicago cab driver trying to make it as an actor, married to the pregnant Faye. Among his clients are bestselling writer Lou Weber (Joe Mantegna), who befriends Mitch and confides in him that a drug dealer is trying to kill him. Over the next few days, Mitch begins to suffer severe stomach pains, collapsing in Weber's apartment after a fare and is diagnosed with inoperable stomach cancer. With only a short time to live, he decides to take up Weber's offer to rub out his drug dealer stalker for $50,000, a nest egg for his family after he's gone. A not entirely unpredictable twist follows, hinted at by the Lucifer-like beard sported by Mantegna and the film alights only briefly to meditate on the potential for evil in all of us before resuming its journey along conventional, though certainly passable Hollywood thriller lines. An intriguing precept-it's just a slight shame that neither the players nor director's hearts seem really to be in this movie. On the DVD: Features a trailer. -David Stubbs.

Alfred Hitchcock himself called this 1934 British edition of his famous kidnapping story "the work of a talented amateur", while his 1956 Hollywood remake was the consummate act of a professional director. Be that as it may, this earlier movie still has its intense admirers who prefer it over the Jimmy Stewart-Doris Day version, and for some sound reasons. Tighter, wittier, more visually outrageous (back-screen projections of Swiss mountains, a whirly-facsimile of a fainting spell), the film even has a female protagonist (Edna Best in the mom part) unafraid to go after the bad guys herself with a gun. (Did Doris Day do that that? Uh-uh. ) While the 1956 film has an intriguing undercurrent of unspoken tensions in nuclear family politics, the 1934 original has a crisp air of British optimism glummed up a bit when a married couple (Best and Leslie Banks) witness the murder of a spy and discover their daughter stolen away by the culprits. The chase leads to London and ultimately to the site of one of Hitch's most extraordinary pieces of suspense (though on this count, it must be said, the later version is superior). Take away distracting comparisons to the remake, and this Man Who Knew Too Much is a milestone in Hitchcock's early career. Peter Lorre makes his British debut as a scarred, scary villain. -Tom Keogh.