Storytelling doesn't get much purer than this-a film with virtually no dialogue and not a minute that isn't fascinating, either for the plot it pursues or the way director Jean-Jacques Annaud gets his ursine stars to do what he wants. The story deals with a young cub who, after his mother is killed in a landslide, bonds to a lumbering male Kodiak. The two of them then must cope with an invasion of hunters into their territory-and Annaud makes it clear whose side he's on. Aside from stunning scenery, the film offers startlingly close-up looks at bear behavior. They say the best actors are the ones that let you see what they're thinking, a trick Annaud manages with his big, furry stars. -Marshall Fine.

In this last go-round for the Sinbad series, Patrick Wayne plays the legendary sailor. He is betrothed to Farah (Jayne Seymour) and seeks her hand in marriage, but her brother Kassim has been turned into a baboon by the evil Zenobia (Margaret Whiting). Before he can break Zenobia's spell, Sinbad must contend with the Minoton, a bronze statue brought back to life to do her bidding; a trio of flaming skeletons wielding swords; a 9-foot-tall troglodyte; and a saber-toothed tiger. Wayne is the film's weakest point, making a rather wooden Sinbad. Whiting's performance smells strongly of ham, but it's a brand of ham that fits the movie perfectly. As always, though, Harryhausen's work is outstanding. He instills more personality and character into his creatures in this outing, especially for Kassim and his relationship to his sister. The prolonged battle between the troglodyte and saber-toothed tiger is a violent one, generating some real suspense. At times it's difficult to remember that it's not live action with guidance from a director. Though this is an uneven effort for the Sinbad series, it still has its moments. [+]

Based on a memoir by former undercover cop Joe Pistone (whose daring and unprecedented infiltration of the New York Mob scene earned him a place in the federal witness protection program), Donnie Brasco is like a de- romanticized, de-mythologized version of The Godfather. It offers an uncommonly detailed, privileged glimpse inside the world of organized crime from the perspective of the little guys at the bottom of Mafia hierarchy rather than from the kingpins at the top. Donnie Brasco is not only one of the great modern-day gangster movies to put in the company of The Godfather films andGoodFellas, but it is also one of the great undercover police movies-arguably surpassing Serpico and Prince of the City in richness of character, detail, and moral complexity. Donnie (Johnny Depp, a splendid actor) is practically adopted by Lefty Ruggiero (Al Pacino), a gregarious, low-level "made" man who grows to love his young protégé like a son. (Pacino really sinks into this guy's skin and polyester slacks, and creates his freshest, most fully realized character since his 1970s heyday. ) As Donnie acclimates himself to Lefty's world, he distances himself from his wife (a terrific Anne Heche) and family for their own protection. Almost imperceptibly his sense of identity slips away from him. Questioning his own confused loyalties, unable to trust anybody else because he himself is an imposter, Donnie loses his way in a murky and treacherous no-man's land. The film is directed by Mike Newell, who also headed up Four Weddings and a Funeral and the gritty, true crime melodrama Dance with a Stranger. -Jim Emerson Stills from Donnie Brasco (click for larger image) Beyond Donnie Brasco on Amazon. [+]

This HBO docudrama depicts the notorious 1971 prison revolt at the Attica State Penitentiary in upstate New York. One can sense the mastery of veteran theatrical feature director John Frankenheimer in the movie's gripping suspense and gritty, hard-hitting realism. The semifictionalized narrative is told from the point of view of young Michael Smith (Kyle MacLachlan), a newly recruited prison guard. (The real Smith worked as a consultant on the film. ) When Smith arrives at Attica, the place is a revolt waiting to happen. When riots break out and the inmates take command of the prison, Smith and several other guards are held hostage. In this powder-keg climate, a relationship develops between Smith and the rebellion's wise, cool-headed leader, Jamaal (the superb Samuel L. Jackson), a political prisoner representing the African Liberation Movement. The insurrection at Attica became emblematic of protests taking place all over the United States at the time. "We've got a civil war going on in this country," says one prison guard, "This is where we hold the line. [+]

Director Sam Raimi (The Evil Dead) tries gamely to recapture the exotic mysteries of spaghetti Westerns in this stylish but empty film, which stars Sharon Stone as a stranger who comes to the town of Redemption in time for an annual shooting contest. Her real motivations for being there are the stuff that might have found their way into a film by Sergio Leone-in fact, much of this film is a pastiche of Leone's greatest hits, including A Fistful of Dollars and Once upon a Time in America-but one can't quite believe Stone in the role. Gene Hackman gives a predictably solid performance as the town tyrant, and Leonardo DiCaprio is good as a lucky young gunslinger who gets to kiss the heroine. But not even the cast can help this failed project. Raimi brings a lot of razzle-dazzle to his camera work, but it doesn't make the film any more substantial. -Tom Keogh.

This big and sometimes messy movie achieves the seemingly impossible: it demythologizes the American Revolution and lets us see it in a completely new light. Hugh Hudson (Chariots of Fire) has directed a starkly beautiful, powerfully visceral portrait of war from the point of view of the little people who are swept along in its wake. Al Pacino is Tom Dobb, a poor, illiterate trapper bringing up a young son when rebellion breaks out in New York. Dobb's small boat is requisitioned for the war effort, and he and his son become reluctant conscripts. It takes six months and some truly vile treatment by the British before the conflict becomes personal for Dobb and he makes the American cause his own. The Dobb family's tale intersects that of British Sergeant Major Peasy (a formidable Donald Sutherland) and his own son. As the tide of the war turns, the enemies' fortunes are reversed. Tom's love interest, Daisy McConnahay (Nastassja Kinski), is a fiery beauty who breaks from her family of wealthy Tories (British sympathizers) to fight for freedom. Kinski is wonderful as a living Lady Liberty, and Pacino has some extraordinary moments of raw emotion as Dobb. The film's highlights include authentic, grisly re-creations of famous Revolutionary War battles, including Yorktown and Valley Forge. [+]

This popular and beloved film, produced by Tsui Hark and directed by Ching Siu Tung, is a standout in the Hong Kong supernatural-action genre and spawned many sequels and copycats. A Chinese Ghost Story stars Leslie Cheung as Ning Tsei-Shen, a timid and likable tax collector. Looking for a place to stay the night, he comes upon a spooky abandoned temple occupied by a tough Taoist swordsman (Ma Wu). Despite his warnings, Tsei-Shen stays anyway. Later he encounters a beautiful maiden (Joey Wang) who he quickly falls in love with. Unfortunately, she is a ghost who is being forced to trap men for an evil spirit who feeds on their souls. A Chinese Ghost Story has been widely praised for infusing the genre with humor, action, romance, and inventive special effects. Memorable images include an attacking mile-long tongue and a cloak opening to dozens of ghastly decapitated heads. The final battle in hell is said to have inspired scenes in Sam Raimi's Army of Darkness. And the film has its share of homage: A group of crusty zombies are reminiscent of the skeletons in special-effects guru Ray Harryhausen's 7th Voyage of Sinbad-and they are eliminated by Tsei-Shen in comedic slapstick fashion, not unlike the style of Charlie Chaplin. [+]

The third episode in Steven Spielberg's rousing Indiana Jones saga, this film recaptures the best elements of Raiders of the Lost Ark while exploring new territory with wonderfully satisfying results. Indy is back battling the Nazis, who have launched an expedition to uncover the whereabouts of the Holy Grail. And it's not just Indy this time-his father (played with great acerbic wit by Sean Connery, the perfect choice) is also involved in the hunt. Spielberg excels at the kind of extended action sequences that top themselves with virtually every frame; the best one here involves Indy trying to stop a Nazi tank from the outside while his father is being held within. For good measure, Spielberg reveals (among other things) how Indy got his hat, the scar on his chin, and his nickname (in a prologue that features River Phoenix as the young Indiana). -Marshall Fine Not as good as the first one, but better than the second. That’s been the consensus opinion regarding Indiana Jones and the Last Crusade, the final installment in Steven Spielberg and George Lucas’ original adventure trilogy, throughout the nearly two decades since its 1989 theatrical release. It’s a fair assessment. After the relatively dark and disturbing Temple of Doom (1984), The Last Crusade (1989) recalls the sheer fun of Raiders of the Lost Ark (1981). With its variety of colorful locations, multiple chase scenes (the opening sequence on a circus train, with River Phoenix as the young Indy, is one of the best of the series, as is the boat chase through the canals of Venice), and cloak-and-dagger vibe, it’s the closest in tone to a James Bond outing, which director Spielberg has noted was the inspiration for the trilogy in the first place; what’s more, it harkens back to Raiders in its choice of villains (i. [+]

Robert Townsend has managed to build an entire career on the basis of one funny movie (The Hollywood Shuffle)-even though he hasn't had one that was anywhere near as funny since. Case in point: This would-be comedy about an unwilling black superhero. Townsend plays a schoolteacher in a bad Washington, D. C. , neighborhood that is controlled by a vicious drug gang (recognizable by their blonde-dyed hair). Then he is hit by a meteor and suddenly finds that he has super strength and can fly (and can read the minds of dogs). But Townsend's writing is surprisingly weak and, despite a cast that includes a mugging Bill Cosby, Eddie Griffin, Robert Guillaume, and sadly miscast James Earl Jones, this movie is never able to get off the ground. -Marshall Fine.

This sleeper star vehicle for Denzel Washington is a campy revenge thriller in the Brian De Palma style. Director Russell Mulcahy (The Shadow) makes the most of the opportunity to showcase two great actors in an exaggerated story of cops, robbers, and revenge. Denzel Washington (Glory, Crimson Tide) plays a cop who becomes a rising legal star as a result of arresting master criminal John Lithgow (The World According to Garp). Lithgow escapes prison, fakes his own death, and sets about framing lawyer Washington for various crimes and methodically destroys his life, until Washington enlists the help of childhood friend and drug dealer Ice-T (New Jack City) to turn the tables and put his tormentor out of business for good. Lurid and violent, the film is also happily over the top, making Ricochet a cheerfully decadent indulgence. -Robert Lane.

Michael Biehn plays a Seattle attorney who talks his friend, a physics instructor (Matt Craven), into joining a party with plans to climb the tallest and least accessible mountain in the world, K-2. Biehn's arrogant character immediately bumps noggins with the tour's leader (Raymond J. Barry) and the latter's strong-willed girlfriend (Patricia Charbonneau). But when various disasters begin to strike at the group, cooperation ensues, followed by assorted acts of heroism, friendship, and self-sacrifice under almost unimaginable conditions of lethal distress. Based on a play that examined the view on human values from a perch far above the world most of us know, K-2 surrounds that essential drama with extraordinary location footage. Director Franc Roddam (Quadrophenia) succeeds very well at turning a thoughtful piece into a fine action movie-and vice versa. -Tom Keogh.