Brainstorm is a fascinating but frustrating film, simply because it dabbles in greatness but fails to develop the fullest implications of its provocative ideas. It's a visually dazzling film with outstanding special effects; directed by veteran effects creator Douglas Trumbull, of 2001 fame; but too caught up in marvels of hardware and software at the expense of its characters, who remain interesting but dramatically two-dimensional. The story involves the development of a headset recorder that can replay one person's experiences-even their emotional states-into the mind of another. The device obviously invites corporate or military exploitation, and Cliff Robertson plays a ruthless executive determined to tap into its lucrative potential. But when a scientist (Louise Fletcher) records her own death experience with the device, along with incriminating evidence, the technology's inventor (Christopher Walken) must unlock the mysteries of his colleague's suspicious demise and the very nature of death itself. Punctuated by remarkable sequences from the perspective of those who use the mind-expanding headset, Brainstorm dares to reach for ambitious themes and innovative movie experiences, and that alone makes it eminently worthwhile. But with a conclusion that too literally interprets the afterlife experience with conventional angelic imagery, and a disappointingly thin role for Natalie Wood (who died while the film was still in production), the film strives for profundity and settles instead for an inspirational light show. -Jeff Shannon.

Mixing action, humor, sentiment, and even a few righteous moral convictions, The Wild Geese is good, rousing fun. Released theatrically in 1978 (oddly, this 2005 DVD release is referred to as the "30th Anniversary Edition"), director Andrew V. McLaglen’s film depicts the adventures of a group of British mercenaries hired by a shady multinational corporation to free the benevolent leader of an African nation held captive by a ruthless dictator. Led by the caustic, no-nonsense Col. Allen Faulkner (Richard Burton), these soldiers of fortune are all stout fellows out to earn a big payday and restore a good man to his rightful place of power (the underlying message of universal racial brotherhood is effective, if somewhat simplistic), and they do their job swiftly and efficiently. at least until they're double-crossed by their venal, perfidious employers, at which point the film becomes a tale of survival and revenge. The cast, which also includes Richard Harris, Roger Moore, and a host of other fine veteran actors, is first-rate, the story-telling efficient, the dialogue entertaining (with occasional bursts of profanity), and the action reasonably exciting and not overly graphic. And even if the pace is somewhat leisurely by new millennium standards (we're nearly an hour into it before the actual mission starts), The Wild Geese is a very enjoyable ride. [+]

The best thing about this misguided 1994 comedy is the performance of Kirk Douglas as a feisty old scrap-metal millionaire named Joe whose venal family is out to get his fortune. Douglas had scored a modest hit with Burt Lancaster in the 1986 buddy comedy Tough Guys, but this was the veteran actor's chance for a late-career comeback-and his last major movie role before he was temporarily sidelined by a stroke in 1995. Douglas is quite funny here, playing an old codger who keeps frustrating his greedy relatives by refusing to die. Instead he threatens to will his fortune to his sexy "nurse" (Olivia D'Abo), and the scheming family reacts by finding a long-lost nephew named Daniel (Michael J. Fox), who is the only relative that Uncle Joe remembers with any fondness. The idea is that Joe will warm up to his welcomed nephew and will him his fortune-but of course this only makes the old man more crotchety and protective of his money. The movie's got a strong supporting cast including Ed Begley Jr. and the late Phil Hartman, but director Jonathan Lynn (who also plays Douglas's butler) fails to maintain a steady pace and the movie's cynical humor gradually wears out its welcome. Along the way, however, Fox keeps up a lively rapport with Douglas, who's obviously enjoying himself in a role that lets him cut loose with plenty of saucy and savvy attitude. -Jeff Shannon.

In a utopian future of universal peace and brotherhood-1985 to be specific-a mysterious artifact found in Siberia is discovered to be a message from Venus. While the recording is studied, an international team of scientists is rocketed off to make contact with the mysterious planet. It takes the film some time to get going (worldwide harmony makes for a beautiful future but pallid drama when everyone gets along so nicely), but things begin to cook once they land on the misty wasteland of Venus. Swarms of metal bugs hop from glassy mutant trees and bubbling black mud oozes after our astronaut heroes, but no Venusians can be found amidst the geodesic architecture and buzzing power plants. What they discover instead is a terrifying conspiracy wrapped in an anti-war parable. Based on a novel by Polish science fiction legend Stanislaw Lem (whose work also inspired Andrei Tarkovsky's Solaris), this German science fiction adventure is a visual treat, from the sleek, grand, silver spaceship and a funky purple Venus landscape of alien ruins and crystalline bubbles. Decently (if prosaically) dubbed and trimmed down to a brisk 78 minutes, it's an entertaining triumph of psychedelic art direction and desolate alien weirdness presented in all its brightly colored, widescreen glory. -Sean Axmaker.

There's nothing original in The Scorpion King, but this derivative action franchise gets off to a rousing start by cleverly stealing from a lot of better movies. Capitalizing on his brief cameo in The Mummy Returns, Dwayne Johnson (a. k. a. World Wrestling Federation star the Rock) stars as Mathayus, an Akkadian assassin in the age preceding Egyptian pharaohs, who vows to avenge his brother's murder by an undefeated warlord (Steven Brand) prophesied to become the desert-ruling Scorpion King. Their battle for supremacy comprises most of the film's brisk 95-minute running time, punctuated by comic relief from Mathayus's obligatory sidekick (Grant Heslov), romance with a beautiful sorceress (Kelly Hu), and alliance with a massive Nubian (Michael Clarke Duncan) on the eve of their climactic showdown. There's no rhyme or reason to the film's depiction of ancient civilization (the costuming is particularly ludicrous), but the Rock demonstrates adequate action-star potential, and director Chuck Russell (The Mask) wraps it all in a slick, professional package. -Jeff Shannon.