"Suspense in a void" is how critic Pauline Kael described this action-packed hit from 1983. In other words, this is one of those flashy, superbly crafted high-tech thrillers in which the star is a machine, while intelligent plotting and human characters are a lesser priority. The machine in question is Blue Thunder-a heavily armored prototype helicopter that is secretly being tested for use in a devious government conspiracy. Roy Scheider plays the police pilot who catches on to the nefarious plot and takes to the skies against an evil army colonel (Malcolm McDowell) who will defend his coconspirators at any cost. Director John Badham was a hot property in the early '80s (he directed WarGames the same year), and Blue Thunder served as the popular model for many formulaic action thrillers to follow. That doesn't make it a great movie, but with a fine cast (including Daniel Stern in a memorable supporting role) and a dazzling aerial chase among big-city skyscrapers, Blue Thunder qualifies as slick entertainment. -Jeff Shannon.

John Wayne and Robert Ryan co-star in Flying Leathernecks, Nicholas Ray's intense 1951 war movie that managed to appeal to RKO studio chief Howard Hughes's passion for thrilling aerial footage while supplying Ray's own fascination with the human psyche under near-inhuman duress. Wayne plays Major Dan Kirby, commander of a Marine Flying Corps squadron in the South Pacific of World War II. After witnessing the slaughter of men under his command at Midway, Kirby is battle-hardened and in no mood for the familiar style of his executive officer (Ryan). Emotions are further strained as Kirby's pilots are picked off one by one in grueling missions, leading to a crisis that ultimately forces each man to reevaluate his attitude toward sending men to their likely doom. The drama is built around extensive, startling documentary footage of battle action in the sky, but what makes Flying Leathernecks unique is its literate, psychologically probing script. -Tom Keogh.

The skillful blending of drawn animation and computer-generated imagery excited anime fans when this science fiction mystery was released in 1995: many enthusiasts believe Ghost suggests what the future of anime will be, at least in the short term. The film is set in the not-too-distant future, when an unnamed government uses lifelike cyborgs or "enhanced" humans for undercover work. One of the key cyborgs is The Major, Motoko Kusanagi, who resembles a cross between The Terminator and a Playboy centerfold. She finds herself caught up in a tangled web of espionage and counterespionage as she searches for the mysterious superhacker known as "The Puppet Master. " Mamoru Oshii directs with a staccato rhythm, alternating sequences of rapid-fire action (car chases, gun battles, explosions) with static dialogue scenes that allow the characters to sort out the vaguely mystical and rather convoluted plot. Kusanagi's final quote from I Corinthians suggests that electronic evolution may compliment and eventually supplant organic evolution. The minor nudity, profanity, and considerable violence would earn Ghost in the Shell at least a PG rating. -Charles Solomon.

An evil sorcerer (Michael Constantine) and a cackling musical nightmare named "GlitterRock" threaten to wreak havoc on the world in this double episode of low-budget, high-fivin' action. In a shameless rip-off of the popular live-action Batman and Robin series (1966-68), ElectraWoman and DynaGirl blast back from the 1970s for 45 minutes of glamorous crime busting, courtesy of Sid & Marty Krofft Productions. Former Olympic gymnastics coach Lori (Deidre Hall) and her protégée, Judy (Judy Strangis), don their trademark orange and yellow capes and supergal go-go boots when they slide down a hidden shaft in their bachelorette pad. With help from Frank, the electronics whiz and gadget inventor who operates their secret electrolab, these big-haired ladies elegantly chase, confront, and eventually capture a variety of seedy characters. They're sort of like Barbie dolls with a purpose. Plenty of cheesy one-liners ("The county museum! What better place to find an escape "artist"!), laughable special effects, and spiraling psychedelic scene bridges offer an amusing trip down memory lane for Baby Boomers-and clean entertainment for first-time viewers ages 5 to 8. -Liane Thomas.

Monty Python's Terry Gilliam (Fear and Loathing in Las Vegas) directs this wild, wild version of the stories of Baron Munchausen, pushing the limits of 1989 special effects technology to bring us such sights as a horse divided in half and running around in two parts, and a giant Robin Williams with his head flying off his shoulders. Basically, this is a treat for Gilliam fans, as the sustaining idea of the film runs out of steam, and manic energy alone keeps the momentum going. Casual viewers might find it tedious after awhile. There are nice parts for fellow Python Eric Idle, as well as Sting, Alison Steadman, and Uma Thurman as a dazzlingly beautiful Venus on a half-shell. Gilliam had greater artistic and commercial success with Brazil, The Fisher King, and 12 Monkeys. -Tom Keogh.

Director Fraser Heston captures the danger and beauty of Alaska in this adventurous family film about two kids who embark on a very personal rescue mission. Former 747 pilot Jake Barnes (Dirk Benedict) moved away from a fast-paced Chicago lifestyle with his two children, Jessie and Sean, after the death of his wife. While daughter Jessie thoroughly enjoys and excels in her new surroundings, son Sean's moodiness and homesickness escalates. One stormy night Jake's small plane crashes during an emergency flight, leaving him stuck on a treacherous cliff with a broken leg and no radio. The local search and rescue team soon gives up, prompting Sean and Jessie to kayak, hike, canoe, and rappel their way over many lush and snowy miles to save their dad. Younger kids will enjoy the antics of Cubby, the baby polar bear who befriends the youthful trekkers and eventually leads them to their father. They'll also enjoy the good-natured sibling rivalry between the tough but tender-hearted Jessie (Thora Birch of Now and Then) and Sean (Vincent Kartheiser of The Indian in the Cupboard) and a chance to hiss at the two evil poachers (including the director's father, Charlton Heston). Parents, on the other hand, may feel compelled to explain etiquette around wild animals, the dangers of hypothermia, and how to pack for a long hike. But the scenic Cook's tour of Alaska and British Columbia makes some of these otherwise corny elements tolerable to grown-ups. -Liane Thomas.

Eight Films in nice clean dust box. Tapes in slipcases: Diamonds are Forever, The Spy, Moonraker, For Your Eyes Only, Octopussy, A View to a Kill, The Living Daylights, License to Kill.