The Philadelphia Experiment takes as its jumping-off point an incident that is now paranormal legend, the U. S. Navy's supposed 1943 induction of an extremely powerful electromagnetic field around a destroyer in Philadelphia, causing its crew to become transparent, go insane, burst into flames, and so forth. The movie takes the tack that this was to render the ship invisible to radar, because of the war that was on. The test goes awry, however, and two of the crew leap forward in time to the filmmakers' present tense, 1984, where a similar experiment has caused a vortex that has trapped the 1943 ship and its crew along with a small Nevada town. The key to unbollixing this sad time-fracture lies in our heroes, the two time-travelling crew members, David Herdeg (Michael Paré) and Jim Parker (Bobby Di Cicco), whose electromagnetic instability keeps drawing them painfully back to the vortex to set things straight. This is silly stuff, but it's very fun silly stuff. One might cavil at gaps in plot logic, such as when Michael Paré seeks out the '80s version of his partner and finds more or less a trauma patient, while subsequent action contradicts this characterization. Still, there are plenty of still-worthy special effects, creating the requisite sense of awe and wonder. And for romantic interest, there's Nancy Allen's '80s girl paired with Michael Paré, affording plenty of amusing occasions for culture comparisons, most notably when Paré sees Ronald Reagan on TV, says, "Hey, I know that guy!" and refuses to believe he's president. [+]

Smart-talking American astronaut John Crichton (Ben Browder) is flung through a wormhole and comes out in the midst of an interstellar prison escape on the other side of the universe. Bad luck for Crichton: the galactic cops (called "peacekeepers") mark him as the new public enemy number 1. This 20th-century boy is forced to ally himself with the colorful convicts: D'Argo, a hulking warrior with a fleshy Rastafarian mane; Zhaan, a blue-skinned priest of indeterminate age (played by Road Warrior alumnus Virginia Hey); fugitive peacekeeper Aeryn (Pitch Black's Claudia Black); Rygel, a greedy and troll-like exiled king; and Pilot, the giant insect-like nerve center of their living ship, Moya. It's an impressive-looking made-for-cable series, with imaginative production design and mix of state-of-the-art digital effects and sophisticated puppetry (or rather Muppetry, courtesy of co-creator Brian Henson), but it's the sharp writing and vivid characters that have built-and kept-the show's following. Premiere introduces each character and the basic premise, a sci-fi Fugitive by way of Voyager in a world far from the Federation-friendly universe of Star Trek. Crichton's welcome is anything but warm, and the cultural and philosophical differences of the fleeing outlaws, as well as their pure self-interest, clash under the constant threat of capture. In I, E. T. , a hidden homing signal forces Moya to hide in a terrestrial bog while the crew tries to disarm the device (which has been fused to the ship's nervous system), and Crichton makes first contact with the planet's pre-space flight inhabitants. "Spielberg was all wrong," he remarks while dodging military patrols and soothing the fears of a sky-watching scientist. [+]

"Funny, I never thought it would work. He's so different from me. " Agnès Jaoui, scripting with her longtime writing and performing partner, Jean-Pierre Bacri, makes a deft directorial debut with this delightful romantic journey of missed opportunities and second chances. Bacri is poignant and piercing as a gauche petit-bourgeois businessman who discovers a world of art and magic missing from his empty, self-contained existence after he watches an emotionally devastating theater performance. Equal parts buffoon and born-again romantic, he fumbles through a new world and emerges as the soul of this story. Jaoui brings a light touch and a fresh perspective to familiar situations. Behind the comic characters and wry wit is a sympathy for her lonely souls and a celebration of the painful joy of their rediscovery of the possibilities of life. -Sean Axmaker.

Meet Dr. Michael Hfuhruhurr (Steve Martin), the famous brain surgeon. Perhaps the name is not unfamiliar, though it is unpronounceable; the good doctor is the inventor of the celebrated "screw-top" method of brain surgery, in which the top of the skull twists off as easily as the lid of a pickle jar. The man may be a medical genius, but his talent for love leaves something to be desired, which explains his marriage to a gold-digging vixen (Kathleen Turner). Ah, but Dr. Hfuhruhurr may yet find true love, in the form of the disembodied brain he discovers in the lab of a mad scientist-David Warner, gone the Frankenstein route. (Lovely image: Hfuhruhurr in a rowboat, taking the brain out for a romantic ride on the lake. ) Thus, in its own utterly goofy way, does The Man with Two Brains delve into the eternal dilemma of male indecision: does a man fall in love with a woman's body, or with her mind? Along the way, of course, there are gags both highbrow and very, very lowbrow, a mind-body split that might be why critics have tended to prefer the more sophisticated slapstick of All of Me (directed, like this film, by Carl Reiner) and Roxanne among the early Steve Martin outings. Still, this is one of Martin's funniest pictures, and a game Kathleen Turner, fresh off her Body Heat success, ably spoofs her own sultry image. The cerebral love object is voiced by Sissy Spacek. [+]

While director Norman Jewison's Moonstruck is a romantic cornerstone, this 1994 film is often overlooked. It's a sweet valentine about a young woman, aptly named Faith (Marisa Tomei, never cuter), who chases an unknown man to Europe because the name "Damon Bradley" was once spelled on an Ouija board as her true love. With her sister-in-law (Bonnie Hunt, whose own marriage seems to be falling apart), she travels the streets of Rome looking for Damon Bradley. And lo and behold, she literally runs into a man claiming to be Damon. Is this meant to be? Faith certainly thinks so. Robert Downey Jr. (also never cuter) plays Damon in a role that showcases his charms. He shows his quick wit in handing Faith's advances and his absolute devotion to her when the winds change. Despite the cuteness factor, this is a movie to fall in love with. Jewison and Sven Nykvist (Ingmar Bergman's cameraman) present a sun-kissed Italy so beautiful, you might be tempted to hop a plane immediately after viewing the movie. [+]

Arguably the most intelligently written film to feature the masterful stop-motion animation of Ray Harryhausen, Jason and the Argonauts is a colorful adventure that takes full advantage of Harryhausen's "Dynarama" process. Inspired by the Greek myth, the story begins when the fearless explorer Jason (Todd Armstrong) returns to the kingdom of Thessaly to make his rightful claim to the throne, but the gods proclaim that he must first find the magical Golden Fleece. Consulting Hera, the queen of gods, Jason recruits the brave Argonauts to crew his ship, and they embark on their eventful journey. Along the way they encounter a variety of mythic creatures, including the 100-foot bronze god Talos, the batlike Harpies, the seven-headed reptilian Hydra, and an army of skeletons wielding sword and shield. This last sequence remains one of the finest that Harryhausen ever created, and it's still as thrilling as anything from the age of digital special effects. Harryhausen was the true auteur of his fantasy films, and his brilliant animation evokes a timeless sense of wonder. Jason and the Argonauts is a prime showcase for Harryhausen's talent-a wondrous product of pure imagination and filmmaking ingenuity. The DVD contains an informative interview with Harryhausen by filmmaker John Landis. -Jeff Shannon.

The title credit for Delicatessen reads "Presented by Terry Gilliam," and it's easy to understand why the director of Brazil was so supportive of this outrageously black French comedy from 1991. Like Gilliam, French codirectors Jean-Pierre Jeunet and Marc Caro have wildly inventive imaginations that gravitate to the darker absurdities of human behavior, and their visual extravagance is matched by impressive technical skill. Here, making their feature debut, Jeunet and Caro present a postapocalyptic scenario set entirely in a dank and gloomy building where the landlord operates a delicatessen on the ground floor. But this is an altogether meatless world, so the butcher-landlord keeps his customers happy by chopping unsuspecting victims into cutlets, and he's sharpening his knife for a new tenant (French comic actor Dominque Pinon) who's got the hots for the butcher's nearsighted daughter! Delicatessen is a feast (if you will) of hilarious vignettes, slapstick gags, and sweetly eccentric characters, including a man in a swampy room full of frogs, a woman doggedly determined to commit suicide (she never gets its right), and a pair of brothers who make toy sound boxes that "moo" like cows. It doesn't amount to much as a story, but that hardly matters; this is the kind of comedy that springs from a unique wellspring of imagination and inspiration, and it's handled with such visual virtuosity that you can't help but be mesmerized. There's some priceless comedy happening here, some of which is so inventive that you may feel the urge to stand up and cheer. -Jeff Shannon.