Chi falls in love with the man she's supposed to kill, but there is no stopping the mission and she knows it. The danger of it all collapsing for them both is ever present, and that's the Caution. The cinematography and direction in Lust, Caution is masterful, and every scene is beautiful. The film does drift into a languid pace, and at times one wonders why Lee would feel the need to draw it out at the expense of delaying the crucial climactic scenes. Still, it's a wonderful piece of storytelling that should only help solidify Ang Lee's place in cinematic history as a master of films that express the difficulty of being essentially human in an inhumane world. -Daniel Vancini.

-Marshall Fine Rambo III [1988] And the hits just keep on coming. Sylvester Stallone, who can't seem to draw flies unless he's playing Rocky Balboa or John Rambo, went back to the Rambo well (or septic system, as it were) to show his well-known solidarity with the Afghan freedom fighters who battled the Soviet army in the 1980s. This time it's personal: his handler, Richard Crenna, is captured by the Evil Empire and so it is up to Rambo to leave his work in a monastery in Southeast Asia (no, seriously) in order to rescue him from the Ruskies. Ever wonder why the Russians had such a miserable time in Afghanistan? It was because Rambo took them on single-handed and sent them packing with hammer-and-sickle all the way back to Moscow. Cartoonish action, taken ever so seriously by Stallone, who was working desperately to scrape away the unsightly wax build up from his reputation. -Marshall Fine Rambo [2008] Twenty years after the last film in the series, John Rambo (Sylvester Stallone) has retreated to northern Thailand, where he's running a longboat on the Salween River. On the nearby Thai-Burma (Myanmar) border, the world's longest-running civil war, the Burmese-Karen conflict, rages into its 60th year. But Rambo, who lives a solitary, simple life in the mountains and jungles fishing and catching poisonous snakes to sell, has long given up fighting, even as medics, mercenaries, rebels and peace workers pass by on their way to the war-torn region. That all changes when a group of human rights missionaries search out the "American river guide" John Rambo. When Sarah (Julie Benz) and Michael Bennett (Paul Schulze) approach him, they explain that since last year's trek to the refugee camps, the Burmese military has laid landmines along the road, making it too dangerous for overland travel. They ask Rambo to guide them up the Salween and drop them off in order to deliver medical supplies and food to the Karen tribe. After refusing to cross into Burma, Rambo changes his mind and takes them, dropping them close to one of the Karen villages. Less than two weeks later, he receives a visit from a pastor tellng him the aid workers did not return and the embassies have not helped locate them. The pastor has mortgaged his home and raised money from his congregation to hire mercenaries to free the missionaries, who are being held captive by the Burmese army. Although the United States military trained him to be a lethal super soldier in Vietnam, decades later Rambo's reluctance for violence and conflict are palpable. However, the lone warrior knows what he must do.

As storytelling, the latest Rambo is the most bare-bones of the bunch. Rambo has little to say, so it's especially galling that Stallone, as director and co-writer, obliges him to have essentially the same conversation at three different points (the final distillation: "Live for nothing or die for something"). The Burmese army goons seem in competition to commit the most hideous atrocity (e. g. , child skull-crushing underfoot), the better to justify the eventual, lovingly protracted spectacle of them being eviscerated by high-powered weaponry. Although shot in Thailand, the movie has mostly been photographed in brown, reducing any particular sense of place but, perhaps, perversely increasing our gratitude for the splashes of purple whenever hot metal tatters flesh. -Richard T. Jameson.

The journey is fraught with danger involving wartime action on epic and intimate scales. One measure of the film's awesome visceral impact is the number of sequences, images, and lines of dialogue that have literally burned themselves into our cinematic consciousness, from the Wagnerian strike of helicopter gun-ships on a Vietnamese village to the brutal murder of stowaways on a peasant sampan and the unflinching fearlessness of the surfing warrior Lieutenant Colonel Kilgore (Robert Duvall), who speaks lovingly of "the smell of napalm in the morning". Like Herzog's Aguirre: The Wrath of God, this film is the product of genius cast into a pit of hell and emerging, phoenix-like, in triumph. Coppola's obsession (effectively detailed in the riveting documentary Hearts of Darkness, directed by his wife, Eleanor) informs every scene and every frame, and the result is a film for the ages. -Jeff Shannon, Amazon. com.

Extra features are pretty minimal, with a standard 30-minute "making of" piece called "Into the Breach" and two trailers. There are text notes on the cast and crew as well as the production, and a brief message from Mr Spielberg himself about why he decided to make the movie. -Mark Walker.

On the DVD: Part of a series of Kubrick DVD reissues, Full Metal Jacket has been treated to the full remastering and restoration treatment. The battle sequences have benefited the most, gaining a new audio and visual crispness and clarity that adds to their already impressive sense of realism-you can almost feel the heat searing from the screen and the explosions detonating around you. Maybe not the best war film ever made, as some may claim, but certainly one to take you right to the heart of the action. -Phil Udell.

Both commentaries bring a fresh level of appreciation and understanding to the film. Also included is the original trailer and three TV commercials, together with well-presented stills galleries of behind-the-scenes photos and poster art. Following a credit sequence marred by dirt on the print, the anamorphically enhanced 1. 77:1 image is sharp and clear. The many night scenes are very dark but remain easily comprehensible. The three-channel Dolby Digital sound is suitably raw and powerful, though an early sequence featuring rain in the jungle suffers from very distracting repeated drop-outs in the left channel. -Gary S Dalkin.