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Undoubtedly one of the director's strangest projects, this film has garnered something of a cult following over the years. In a dystopian future where the laws of reality have been suspended, Harry Crown (Richard Harris) is a hit man who's been hired by aged Mafia don Uncle Frank (Edmond O'Brien) to eliminate Big Eddie (Bradford Dillman), a rival gangster who has been moving in on his turf. Big Eddie counters with his own enforcer, Marvin "Claw" Zuckerman (Chuck Connors). Perhaps an inspiration for INSPECTOR GADGET, the Claw bears a metal stump in place of one of his arms that can be fitted with a wide variety of weapons such as knives and whips as well as handy kitchen appliances. As the rival killers attempt to destroy each other, they engage in high-speed chases throughout an unnamed city of which they seem to be the only inhabitants. Often hilarious, this wild gangster parody veers from comedy to graphic violence, a combination that Quentin Tarantino and his progeny would harness with even greater effect two decades later.

Based on Jon Krakauer's bestselling book, Into Thin Air re-creates an ill-fated 1996 expedition to Everest that claimed at least five lives, including those of two world-class climbers. Only 90 minutes in length, the film jumps right into the action at Everest base camp and compresses the two-month trek into just a few days of exhilarating adventure. Periodic voice-overs by Krakauer (Christopher McDonald) provide essential background information and guide us through the invisible, intensifying effects of altitude and stress. Krakauer joined the trip to write an article on the commercialization of Everest, but as conditions on the mountain deteriorate he is forced to focus all his energy on survival. Unfortunately the film fails to really develop any of its characters before thrusting them onto the harrowing face of Everest. As a result, it's difficult to understand the relationships that play out as the group struggles to the summit and back. While the trio of leading actors is solid, only Nat Parker (who plays guide Rob Hall) has enough screen time to develop an interesting, complex character. Peter Horton's portrayal of unconventional guide Scott Fischer is almost hyperbolic and McDonald's Krakauer is stiff and difficult to read. While the film succeeds in creating a palpable sense of agony and suspense, those in search of a more thoughtful, detailed account of the expedition will be better served by reading the book. -Claire Campbell.

Fans of Jet Li should check out The Master, an early movie by the Hong Kong action star. Li is the anti-Stallone, all sinew and smile. His boyish grace makes him seem almost weightless as he whips through his fight scenes in peak physical form. Though the story isn't as strong as the Once upon a Time in China series or Fist of Legend-the plot, about a student of kung fu (Li) from China who comes to Los Angeles to help his former master, is serviceable but generic-the action scenes are dynamic and give ample room for Li's sprightly charisma. Everything about The Master is a little cliché, but at the same time it's all much more enjoyable than you'd expect. The editing is brisk, the actors are enjoying themselves, and the direction (by dependable Hong Kong auteur Tsui Hark) keeps things hopping. -Bret Fetzer.

Seijun Suzuki transforms the yakuza genre into a pop-art James Bond cartoon as directed by Jean-Luc Godard. The near-incomprehensible plot is almost negligible: hitman "Phoenix" Tetsu (Tetsuya Watari), a cool killer in dark shades who whistles his own theme song, discovers his own mob has betrayed his code of ethics and hits the road like a questing warrior, with not one but two mobs hot on his trail. In a world of shifting loyalties Tetsu is the last honorable man, a character who might have stepped out of a Jean-Pierre Melville film and into a delirious, color-soaked landscape of a Vincent Minnelli musical turned gangster war zone. The twisting narrative takes Tetsu from deliriously gaudy nightclubs, where killers hide behind every pillar, to the beautiful snowy plains of Northern Japan and back again, leaving a trail of corpses in his wake. Suzuki opens the widescreen production in stark, high-contrast black and white with isolated eruptions of color that finally explode in a screen that glows in oversaturated hues, like a comic book come to life. His extreme stylization, jarring narrative leaps, and wild plot devices combine to create a pulp fiction on acid, equal parts gangster parody and post-modern deconstruction. Andrew Sarris described Sam Fuller's films as works that "have to be seen to be understood," a characterization that applies even more in this case. Mere description cannot capture the visceral effect of Suzuki's surreal cinematic fireworks. -Sean Axmaker.

Proof, a brilliant allegory about trust, is at once mordantly funny, chilling, and touching. It keeps us off balance from the beginning, challenging our assumptions about everything from the art of filmmaking to the nature of human relationships. The tone is reminiscent of David Mamet and Harold Pinter, but Australian writer-director Jocelyn Moorhouse has a quirky outlook all her own. Hugo Weaving (later known as the villainous Agent Smith in The Matrix), plays Martin, a blind photographer who compulsively shoots photos as proof of the actuality of his existence. He relies on his spiteful housekeeper, Celia (Geneviève Picot), to tell him what's in his snapshots. But can he trust her to tell him the truth? Celia rearranges the furniture so Martin will trip over it. Why? Because she's in love with him. But Martin won't let her into his heart; he's never been able to trust anyone. Into this quagmire of mutual torment walks Andrew, a regular guy personified, to become the first real friend Martin has ever had. At this point the picture jumps up a notch, for Andrew is played by hunky, appealing young Russell Crowe, whose emotional range and star quality are already unmistakable. [+]

The success ofUnder Siege made a sequel mandatory according to Hollywood's rules of maximum revenue, and as sequels go, this one's not half bad. Steven Seagal returns as former Navy SEAL and skilled chef Casey Ryback, who's trying to spend quality time with his niece on a cross-country train trip. But as luck and action-movie formulas would have it, the train has been hijacked by a demented genius (Eric Bogosian) who is using the train as a moving platform to seize computerized control of a top-secret U. S. satellite that is capable of causing earthquakes from space. Seagal has to stop the train or the villain (whichever comes first), and the action is fast and furious on its way to a high-speed climax. He's not as wacky as Tommy Lee Jones in the first Under Siege, but Bogosian has got a delirious quality that serves the comic-book plot, and action fans get more than their fill of dazzling stunts and special effects. -Jeff Shannon.