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.

Alicia Silverstone was so hot after the success of Clueless that she formed her own production company at the age of 19, and Excess Baggage was the first movie she chose as a starring vehicle. Silverstone plays Emily, a spoiled rich girl who has everything but her father's affection, so she decides to stage her own kidnapping to see if dad will come to his senses and appreciate the daughter he so blindly disregards. But when Emily locks herself in the trunk of her own car, she's surprised when the car is stolen by Vincent (Benicio Del Toro, from Fear and Loathing in Las Vegas), a professional car thief whose partner (Harry Connick Jr. ) has misplaced $200,000 of the Mob's money. Christopher Walken stars as Emily's "Uncle Ray," who's hot on her trail as she goes on the lam with Vincent. It's not the meandering plot that matters so much as the funny dialogue between Silverstone and Del Toro, who steals his scenes with a smoky mumble and easygoing charm. This one is mostly for Alicia fans, but the film has got enough good laughs and low-key appeal to make it a home-video sleeper. -Jeff Shannon.

A well-oiled Jean-Claude Van Damme makes his starring debut in what may be one of the few kickboxing films to be based on a true story. The Muscles from Brussels plays Frank Dux, the first Westerner ever to win the extreme "whupfest" known as the Kumatai (a long-running, no-holds-barred fighting tournament in Hong Kong). While a bit deficient in the script department (to say the least), this undeniably exciting flick succeeds by letting Van Damme play to his strengths: namely, minimal acting and a lot of impossibly acrobatic splits while kicking people in the head. A guilty-pleasure testosterone blast of the highest order, with a memorable villain (the massive Bolo Yeung from Enter the Dragon), and a multitude of well-choreographed fight scenes. An embarrassed-looking Forest Whitaker cameos as a hapless (and non-kickboxing) cop. -Andrew Wright.

After the success of Jurassic Park in 1993, the floodgates opened for digital special effects, and Jumanji is nothing if not a showcase for computer-generated creepiness guaranteed to give young children a nightmare or two. Whether that was the filmmakers' intention is up for debate, since this is a PG-rated adventure revolving around a mysterious board game that unleashes a terrifying jungle world upon its players, including gigantic spiders, huge mosquitoes, a stampede of rhinos, elephants, and every other jungle beast you can imagine. Robin Williams plays a man-child who's been trapped in the world of "Jumanji" for 26 years until he's freed by two kids who've discovered the game and released its parade of dangerous horrors. A chaotic and misguided attempt at family entertainment, the movie does offer a few good laughs, and the effects are frequently impressive, if not entirely convincing to the eye. -Jeff Shannon.

Sean Penn wrote and directed this character-driven drama about a divorced couple (Jack Nicholson and Anjelica Huston) whose relationship never recovered following the death of their daughter at the hands of a drunk driver (David Morse). When the latter's character, a deeply regretful and changed man, gets out of jail, Nicholson, as the vengeful dad, decides to go after him. As a director, Penn is not so good with fluid storytelling and camera clichés, but he is amazing as an actor's director. The onscreen reteaming of former real-life lovers Nicholson and Huston is more than just a voyeuristic exercise: Penn ingeniously uses the duo's palpable friction to bring an often horrifying reality to the pain of a dead relationship. -Tom Keogh.

This elephantine tale set on Easter Island gets points for trying to explain the reasons behind the gigantic structures found there, but it unfortunately surrounds itself with a preposterous love story. Director Kevin Reynolds (Robin Hood: Prince of Thieves) knows how to handle physical sequences, but his human actors (led by Jason Scott Lee) suffer from dreary, old-fashioned story elements: the love triangle, an aging chief, a back-stabbing aide, a clan conflict. Esai Morales (the brother in La Bamba) shows enough talent to make you wonder why he hasn't been in more projects. The movie concludes with a race sequence that ends in the most laughable way, and Sandrine Holt must have the most unflattering female role of the '90s. The scenery is the best part of this movie, which was filmed on location on the island. -Doug Thomas.

One of the cinema's great disappearing acts came to a close with the release of The Thin Red Line in late 1998. Terrence Malick, the cryptic recluse who withdrew from Hollywood visibility after the release of his visually enthralling masterpiece Days of Heaven (1978), returned to the director's chair after a 20-year coffee break. Malick's comeback vehicle is a fascinating choice: a wide-ranging adaptation of a World War II novel (filmed once before, in 1964) by James Jones. The battle for Guadalcanal Island gives Malick an opportunity to explore nothing less than the nature of life, death, God, and courage. Let that be a warning to anyone expecting a conventional war flick; Malick proves himself quite capable of mounting an exciting action sequence, but he's just as likely to meander into pure philosophical noodling-or simply let the camera contemplate the first steps of a newly birthed tropical bird, the sinister skulk of a crocodile. This is not especially an actors' movie-some faces go by so quickly they barely register-but the standouts are bold: Nick Nolte as a career-minded colonel, Elias Koteas as a deeply spiritual captain who tries to protect his men, Ben Chaplin as a G. I. haunted by lyrical memories of his wife. The backbone of the film is the ongoing discussion between a wry sergeant (Sean Penn) and an ethereal, almost holy private (newcomer Jim Caviezel). The picture's sprawl may be a result of Malick's method of "finding" a film during shooting and editing, and in some ways The Thin Red Line seems vaguely, intriguingly incomplete. [+]

Toy Soldiers is a slick dose of high-concept absurdity, and lots of fun if you don't think about it afterward. Adapted from a novel by William P. Kennedy, it's got the swift momentum that's a specialty of screenwriter David Koepp, whose later credits include Jurassic Park and Spider-Man. Matching Koepp's narrative energy is director and cowriter Daniel Petrie Jr. , who wrote Beverly Hills Cop, and whose big-screen career stalled after this crowd-pleasing debut. The hokey plot involves a class of prep-school misfits (led by Sean Astin and Wil Wheaton) who use their rebellious ingenuity to foil Colombian terrorists who've taken over their school. The lead villain (Andrew Divoff) demands the return of his extradited drug-lord father (one of the prep students is the residing judge's son), and the inevitable showdown provides a heady mix of nonsense, graphic violence, and military muscle. It shouldn't work but it does, especially if you've got a tolerance for Die Hard clones that barely pass inspection. -Jeff Shannon.

Clint Eastwood is a down-and-out cop who is sent on a routine mission to pick up a witness and deliver her to the Phoenix courthouse. Sounds easy until he realizes he's been set up by the man who gave him this simple assignment. The interplay between Eastwood and the witness, a clever prostitute played by the actor's former girlfriend, Sondra Locke, is tough and playful. They obviously had strong chemistry. The story is highly implausible at times, but the action sequences are satisfying. Eastwood directs The Gauntlet very much in the style of his Academy Award-winning Western Unforgiven. Although the body count is surprisingly low for an Eastwood action film, a house, several cars, and a large bus get shot through with more holes than a big wheel of Swiss cheese. For Eastwood fans, this is the laconic hero at his prime. -Richard Natale.

One more time around for the storyline of The Most Dangerous Game, except this one's refitted with explosions, big guns, and a flood of testosterone. Ice-T plays Mason, a homeless man shanghaied from the streets of Los Angeles to work as a guide and all-around man Friday for a hunting party. What the down-on-his-luck fellow soon finds out is that he is the quarry, and has to rely on his own resourcefulness to stay one step ahead of his tormentors. Laden with atrocious dialogue and narrative implausibilities, this is still a fun action movie if seen only for its own merits and nothing more. The fine cast (Gary Busey, Charles Dutton, F. Murray Abraham, John C. McGinley) chews the script until practically frothing at the mouth while trying to out-maniac each other. Busey is the head macho lunatic, but the twitchy McGinley nearly steals the show as he turns the knob on the weirdo meter up to eleven, then breaks it off and throws it away. Ice-T, on the other hand, puts his coping skills to the test as the hapless human prey. Most of director Ernest R. [+]

The story of Fortress takes place in drastically overpopulated America of the year 2017, where each woman is allowed only one pregnancy. John Brennick (Christopher Lambert) and his wife Karen (Loryn Locklin) flee to Mexico when she becomes pregnant after the death of their first child. They are captured by border police and sent to the Fortress, a subterranean high-security prison owned by the Men-Tel corporation and operated by "Zed-10," an omnipotent computer system, and a sadistic, genetically "enhanced" warden (Kurtwood Smith) who has nefarious plans involving Brennick's wife and unborn child. Along with his cellmates (including Jeffrey Combs, a favorite of director Stuart Gordon), Brennick plots a breakout, and Fortress shifts into auto-pilot action mode. After making his reputation with such audacious horror films as From Beyond and Re-Animator, Stuart Gordon graduated to a bigger budget with Fortress, but his penchant for exploitation remains deliriously intact. While borrowing elements from a variety of better sci-fi movies, Fortress indulges every prison-flick cliché, but does it with such enjoyable B-movie vigor that it qualifies as a bona-fide guilty pleasure (indeed, it deserves to be ranked with James Cameron's original Terminator in terms of its budgetary ingenuity). Featuring such giddy (and gory) devices as "intestinators" (deadly obedience devices implanted in prisoners' bodies) and a torturous "Mind Wipe Chamber," this is really just a drive-in action movie with lofty ambitions, and the schlocky script hasn't a prayer of rising above the level of juvenile popcorn fodder. But there's no denying the energy and enthusiasm that Gordon brings to the film, which understandably became a global box-office hit and spawned a 1999 sequel starring Lambert and Pam Grier. -Jeff Shannon.