Section 0 is the most covert operation in the Japanese police department. Meet Special Agent Rei, code named Zero. She's beautiful, strong, seductive, and deadly. Rei is on assignment to retrieve millions of dollars in stolen stock certificates from the mob. However, a gang attempting to steal money from a mob courier sends her mission way off course! Zero Department fights for the fealty of its solitary assassin, Zero Woman, when a fumbling waiter melts her icy heart and tries to rescue the world-weary killer from her soul-crushing life. But is her callous, conniving boss right when he insists "There is no place for you but in the Zero Force"? Mikiyo Ohno milks Zero Woman's solitude for tortured loneliness and turns her violent destiny into something approaching pulp tragedy: "I have yet another memory that can't be erased," she laments after yet another fatal showdown. The high-concept hits (she miraculously pulls a gun from her clinging bathing suit to ace a businessman in a swimming pool) and sexual interludes (the nerdy boyfriend scores big-time booty!) are shuffled through a barrage of flashbacks and a subplot about a scarred masseuse whose secret weapon is poison body oil. Sort of takes the fun out of foreplay, doesn't it? Like most of the films in the series, the shot-on-video production manages to turn a low budget into an austere style, but the busy script often gets in the way of the visceral thrills and bogs the story down in unnecessary detail. She shoots people and she likes to get naked: what's there to explain? -Sean Axmaker.

This 1993 international hit by Ang Lee is a funny and poignant story of a gay, Taiwanese-American man who goes to some lengths to fool his visiting family that he's actually straight. The results are far more complicated and entertaining than anyone could have guessed. The film seems all the more rich now since Lee has become a major Hollywood director: that same sensitivity and mild bemusement he brought to such stories of manners as Sense and Sensibility and The Ice Storm in recent years are in full bloom in this earlier work. -Tom Keogh.

Best known for making movies about men and violence, director Walter Hill scored a misfire with this ambitious but ultimately dreary remake of Akira Kurosawa's samurai classic Yojimbo. The story's essentially the same but the setting has been switched to a dusty, almost ghostly Texas town in the 1930s, where two rival Chicago gangs are locked in an uneasy truce. Bruce Willis plays the lone drifter who allies himself with both gangs to his own advantage, working both sides against each other according to his own hidden agenda. The violence escalates to a bloody climax, of course, with Christopher Walken, David Patrick Kelly, and Michael Imperioli as trigger-happy lieutenants in a lonely, desolate war. Fans of gangster movies will want to see this, and, if nothing else, Hill has brought his polished style to a vaguely mythic story. It's far from being a classic, however, and although its action is at times masterfully choreographed, the movie's humorless attitude is unexpectedly oppressive. -Jeff Shannon.

A distraught warrior (the charismatic Jet Li) forces his toddler son to choose between a sword and a wooden horse. If he chooses the sword, together they will fight the corrupt government that killed their family; if he chooses the horse, the warrior will send him to join his mother-in hell. Thus begins The New Legend of Shaolin, a wild Hong Kong fantasy. Though the opening sounds grim, the movie shifts ahead seven years and becomes increasingly comic as its plot unfolds. The story centers around a map tattooed on the backs of five boys; it leads to treasure from the Ming dynasty that a heroic sect hopes to use to reestablish the Shaolin temple, which the government destroyed. Meanwhile, Li is forced by poverty to become the bodyguard of a blowhard merchant, who doesn't realize that his bride-to-be is part of a mother-daughter team of notorious thieves. Meanwhile, a villain deformed by a poison that gives him invincible powers is hunting down the five boys, one of whom is the merchant's son. As is usually the case with Hong Kong cinema, the filmmakers have crammed in enough stuff to fill several ordinary movies. [+]

Chen Kaige, the director of Farewell My Concubine, returns with another sumptuous, if hard to follow, film about old China. Set in the decadent 1920s, Temptress Moon tells the very complicated story of a wealthy family living on the outskirts of Shanghai. Their youngest daughter, Ruyi, is brought up as a servant to her opium-addicted father and brother. Meanwhile, her brother-in-law Zhongliang has a successful, if illegal, career seducing and blackmailing married women in the city. When he comes to Ruyi's home the two fall in love, and trouble ensues. Mostly, though, Temptress Moon is about beautiful images. The densely populated plot is basically an excuse for showing golden bells and bowls, pagoda roofs set against the moon, and richly woven carpets. More of a meditation than a movie, Temptress Moon is probably not as accessible or enjoyable as its critically acclaimed predecessor Farewell My Concubine, which may be a better place to start in the appreciation of contemporary Chinese cinema. -James DiGiovanna.

Although best known for his samurai classics, Japanese master filmmaker Akira Kurosawa proved himself equally adept at contemporary dramas and thrillers, and 1962's High and Low offers a powerful showcase for Kurosawa's versatile skill. The great Toshiro Mifune stars as a wealthy industrialist who has just raised a large sum of money to execute his planned takeover of a successful shoe manufacturer. Fate intervenes when he receives a phone call informing him that his son has been kidnapped, and by unfortunate coincidence the ransom demand is nearly equivalent to the amount Mifune has raised for his corporate coup. A philosophical dilemma emerges when it is revealed that the executive's son is safe, and that it is actually his chauffeur's son who has been taken. What follows is both a tense detective thriller, as the police attempt to track down the kidnapper, and a compelling illustration of class division in Japan-the "high and low" of the title. Far be it from Kurosawa to make a mere thriller, however; this loose adaptation of the Ed McBain novel King's Ransom provides the director with ample opportunity to develop a visual strategy that perfectly enhances the story's sociological themes. The Criterion Collection DVD of this extraordinary film is presented in the original "Tohoscope" aspect ratio of 2. 35:1. -Jeff Shannon.

The 1970s were difficult years for the great Japanese director Akira Kurosawa. Following the box-office failure of his 1970 film Dodes'ka-den and an unsuccessful suicide attempt, Kurosawa was unable to find financial backing in Japan, and he made his acclaimed 1975 film Dersu Uzala in Siberia with Russian financing. With only partial Japanese backing for his epic project Kagemusha, the 70-year-old master then found American support from George Lucas and Francis Ford Coppola, who served as coexecutive producers (through 20th Century Fox) for this magnificent 1980 production-to that date the most expensive film in Japanese history. Set in the late 16th century, Kagemusha centers on the Takeda clan, one of three warlord clans battling for control of Japan at the end of the feudal period. When Lord Shingen (Tatsuya Nakadai), head of the Takeda clan, is mortally wounded in battle and near death, he orders that his death be kept secret and that his "kagemusha"-or "shadow warrior"-take his place for a period of three years to prevent clan disruption and enemy takeover. The identical double is a petty thief (also played by Nakadai) spared from execution due to his uncanny resemblance to Lord Shingen-but his true identity cannot prevent the tides of fate from rising over the Takeda clan in a climactic scene of battlefield devastation. Through stunning visuals and meticulous attention to every physical and stylistic detail, Kurosawa made a film that restored his status as Japan's greatest filmmaker, and the success of Kagemusha enabled the director to make his 1985 masterpiece, Ran. -Jeff Shannon.

This 1950 film by Akira Kurosawa is more than a classic: it's a cinematic archetype that has served as a template for many a film since. (Its most direct influence was on a Western remake, The Outrage, starring Paul Newman and directed by Martin Ritt. ) In essence, the facts surrounding a rape and murder are told from four different and contradictory points of view, suggesting the nature of truth is something less than absolute. The cast, headed by Kurosawa's favorite actor, Toshiro Mifune, is superb. -Tom Keogh.