One would think that after the aquatic horror of the previous three Jaws films the remnants of the beleaguered Brodie family would be happily nursing their hydrophobia somewhere in Kansas. However, in Jaws 4-The Revenge, we find that Ellen (Lorraine Gary) is still living on a tiny island and her eldest son Michael (Lance Guest) has become, of all things, a marine biologist. Even when yet another giant shark slaughters her younger son, all Ellen can do to take her mind off it is go to the Bahamas and gaze at the sea. There she embarks on a romantic affair with salty sea-pilot Hoagie (a nice turn from Michael Caine), but this peace is shattered as the shark begins to target her grandchildren and friends. Where this monster-with-a-grudge comes from, bearing in mind that the sharks in each of the previous films got blown up or electrocuted, is something of a conundrum. But logic is clearly not a concern in a script that demands only that this film should bear some tenuous relation to its predecessors. The ghost of the far-superior original looms large here-in the form of Ellen's flashbacks (which actually use footage from the earlier films), scenes that overtly refer to moments from the series (Michael's son mimics him at the dinner table, as Michael once did to his own father) and a set littered with conspicuously large photos of Roy Scheider. There are nice touches-Michael and his Jamaican partner Jake (Mario Van Peebles) fit the shark with a heart monitor which lets off an eerie blipping sound when it approaches, it is nice to see a romance between more "mature" characters portrayed so warmly and when the maternal Ellen forms the resolve to protect her family it even looks like she may briefly become a sort of geriatric Ripley character (à la Aliens). But with a shark that has never looked more rubbery, set pieces that lack suspense and invention and a short running time (only 86 minutes) it is hard to shake off the sensation that this is a made-for-TV film. Those wanting a dose of tongue-in-cheek killer-creature action would be better off avoiding this wet fish and taking in a Jaws rip-off with a little more bite, such as Deep Blue Sea or Deep Rising. [+]

John Carpenter's Assault On Precinct 13 is a riveting low-budget thriller from 1976, in which a nearly abandoned police station is held under siege by a heavily armed gang called Street Thunder. Inside the station, cut off from contact and isolated, convicts heading for death row and the cops must now join forces or die. That's the basic plot, but what Carpenter does with it is remarkable. Drawing specific inspiration from the classic Howard Hawks Western Rio Bravo (which included a similar siege on disadvantaged heroes), Carpenter used his simple setting for a tense, tightly constructed series of action sequences, emphasising low-key character development and escalating tension. Few who've seen the film can forget the "ice cream cone" scene in which a young girl is caught up in the action by patronising a seemingly harmless ice cream van. It's here, and in other equally memorable scenes, that Carpenter demonstrates his knack for injecting terror into the mundane details of daily life, propelling this potent thriller to cult favourite status and long-standing critical acclaim. From this Carpenter went on to make the original Halloween, one of the most profitable independent films of all time. -Jeff Shannon, 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. [+]

Alfred Hitchcock hadn't made a spy thriller since the 1930s, so his 1969 adaptation of Leon Uris's bestseller Topaz seemed like a curious choice for the director. But Hitchcock makes Uris's story of the West's investigation into the Soviet Union's dealings with Cuba his own. Frederick Stafford plays a French intelligence agent who works with his American counterpart (John Forsythe) to break up a Soviet spy ring. The film is a bit flat dramatically and visually, and there are sequences that seem to occupy Hitchcock's attention more than others. A minor work all around, with at least two alternative endings shot by Hitchcock. -Tom Keogh.

This Hitchcock thriller is mainly famous for its climax, which finds the villain (Norman Lloyd) hanging by his sleeve from the torch on the Statue of Liberty as the seam begins to unravel. Otherwise, it's not one of the director's great pictures, though it's still worth a look. Set during the initial stages of World War II, the story concerns a ring of Nazi fifth columnists who plot to weaken American military defences by blowing up a munitions factory, a dam and a battleship. In an early example of Hitchcock's celebrated "wrong man" theme, the hero Barry Kane (Robert Cummings) gets falsely accused of sabotage and becomes a fugitive, hunted from coast to coast. Eventually, he hooks up with the heroine Pat Martin (Priscilla Lane), a super-patriot who takes some convincing of his innocence and plans to turn him in-until the inevitable chemical reaction occurs. It's a highly episodic tale that may put you in mind of Hitchcock's previous The 39 Steps (1935) and his later North by Northwest (1959). The miscellaneous incidents (a shoot-out at a cinema, a bizarre encounter with the freaks in a circus troupe) are often exciting in themselves. The trouble is they just sort of lie there like so-many scattered marbles, never building into a coherent and satisfying whole. The bland dialogue supplied by novice screenwriter Peter Viertel doesn't help matters much. Neither does the casting of the two stars, square, wholesome types, entirely lacking in the perversity and eccentricity one associates with the Hitchcock universe. [+]

An exercise in film noir fairytale, 1955's Killer's Kiss was Stanley Kubrick's second feature film (he had the first buried forever) and shows just how powerful a filmmaker he was right out of the gate. Followers of Kubrick's career will note the appearance of themes and images that recurred (a final axe-fight in a warehouse full of disembodied mannequin parts would not be out of place in The Shining), but this is also notably unlike later Kubrick films in its use of authentic locations and its 65-minute running time. The plot is a tiny anecdote about a washed-up boxer (Jamie Smith), a dance hall dame (Irene Kane) and a slimy hood (Frank Silvera) during one crowded weekend of brutality and romance. There's a sense of a young director playing games: the boxing match (a definite influence on Raging Bull) is all low-angle close-ups and subjective shots with plenty of thump and dazzle, and the traditional Expressionist look of noir is exaggerated with many a tricky shot or doomy plot twist. The three unfamiliar leads are all excellent as small-timers struggling with big passions, and there is already a potent use of raucous source music and subtle sound design to augment the stark, haunted black and white imagery. On the DVD Killer's Kiss on disc features no extras other than a blaring trailer ("a picture as brazen as the naked lights of Broadway, as hard as the New York streets in which it was shot!"). The black and white picture is 4:3, and comes with soundtracks in English, German, Italian and Spanish; subtitles in English, German, Italian, French, Dutch and Spanish. -Kim Newman.

Domestic tensions turn sinister in this pulpy potboiler, which develops a steely sense of menace. The trouble begins when Mr and Mrs Glass (Stellan Skarsgård, Diane Lane) are appointed legal guardianship of 16-year-old Ruby (Leelee Sobieski) and her 11-year-old brother (Trevor Morgan) after their parents are killed in a car accident. As trusted former neighbours, the Glasses welcome the orphans into their luxurious Malibu home, but the all-glass structure turns into a gilded cage when Mr Glass's motivations are revealed to be anything but friendly. With plot-thickening roles for Bruce Dern and Kathy Baker, the film builds considerable suspense before tailspinning into absurdity, and veteran TV director Daniel Sackheim takes full advantage of his prismatic setting and Sobieski's burgeoning sex appeal. The rickety script by Wesley Strick (echoing his rehash of Cape Fear) eventually veers toward self-parody, at which point The Glass House qualifies as a high-gloss slasher pic. -Jeff Shannon.

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. [+]

Before Harrison Ford assumed the mantle of playing Tom Clancy's Jack Ryan hero in Patriot Games, Alec Baldwin took a swing at the character in this John McTiernan film and hit one to the fence. If less instantly sympathetic than Ford, Baldwin is in some respects more interesting and nuanced as Ryan, and drawing comparisons between both actors' performances can make for some interesting post-movie discussion. That aside, The Hunt for Red October stands alone as a uniquely exciting adventure with a fantastic co-star: Sean Connery as a Russian nuclear submarine captain attempting to defect to the West on his ship. Ryan must figure out his true motives for approaching the US. McTiernan (Predator, Die Hard) made an exceptionally handsome movie here with action sequences that really do take one's breath away. -Tom Keogh.

This complex 1996 drama directed by Harold Becker (Sea of Love) attempts to explore big-city corruption and the flexibility of what's right and wrong in the political arena. John Cusack plays the senior aide to mayor John Pappas (Al Pacino), a popular and seasoned politician whose administration is threatened when what seems to be an accidental shooting of a child reveals a nest of corruption and lifelong personal debts. This tests Cusack's loyalty to the man he thought he knew. Pacino turns in a finely textured performance as a man who has his own lofty ideals, but whose pragmatism sets in motion a series of events with tragic results. Cusack admirably captures the essence of someone polished and savvy at his job but must cope with fundamental disillusionment. This political thriller suffers at times from a lack of focus, but still offers an insightful and poignant treatise on the quagmire of politics in the modern age and the human toll it sometimes exacts. -Robert Lane.

Extreme Measures loses credibility near the climax when it sacrifices its hold on reality, but this entertaining, intelligent thriller effectively applies a formulaic plot to the complicated ethics of medical research. It also gives Hugh Grant an opportunity to break free from lightweight comedy by playing an emergency room surgeon who discovers that a renowned neurologist (Gene Hackman) has been conducting secret experiments on patients. When Grant fails to save a patient whose body later mysteriously disappears from the morgue, his investigation leads to an underground community of healthy homeless people, some of whom have been test subjects in Hackman's revolutionary, but criminal research toward a cure for paralysis. Co-produced by actor-model Elizabeth Hurley and capably directed by Michael Apted, this otherwise conventional thriller rises above its limitations by asking morally complex questions that give its far-fetched plot an extra kick of dramatic impact. -Jeff Shannon.

In the vastly overrated 1998 book Easy Riders, Raging Bulls, author Peter Biskind puts the blame for Hollywood's blockbuster mentality at least partially on Steven Spielberg's box-office success with this adaptation of Peter Benchley's bestselling novel. But you can't blame Spielberg for making a terrific film, which Jaws definitely is. The story of a Long Island town whose summer tourist business is suddenly threatened by great white shark attacks on humans bypasses the potboiler trappings of Benchley's book and goes straight for the jugular with beautifully crafted, crowd-pleasing sequences of action and suspense. This is supported by a trio of terrific performances by Roy Scheider (as the local sheriff), Richard Dreyfuss (as a shark specialist), and particularly Robert Shaw (as the old fisherman who offers to hunt the shark down). The sequences on Shaw's boat-as the three of them realise that in fact the shark is hunting them-are what entertaining moviemaking is all about. -Marshall Fine -This text refers to another version of this video. Jaws revolutionised Hollywood, single-handedly invented the summer blockbuster, spawned three increasingly poor sequels, and became the first film to gross more than 100 million dollars. Unlike many recent blockbusters, however, in Jaws the audience really cares about the fate of the men engaged in their duel with the monster. Granted the shark looks fake, but we willingly suspend our disbelief as storytelling and character development count for far more than mere special effects, adding enormously to the movie's suspense, excitement and sheer terror. The cast and screenplay are exemplary, but it was Steven Spielberg who emerged as the film's true star, while John Williams' unforgettable Oscar-winning score made him almost as much of as household name as the young director. [+]

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.

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. [+]