This giant-man-eating-snake-in-the-jungle thriller definitely scores points as a guilty pleasure, especially with Jon Voight hamming it up as the monster-poacher. He makes life miserable for a team of documentary filmmakers on the Amazon river. Anaconda is one of those movies that exists for no other reason than to give computer animators a chance to strut their stuff with a new digital beastie, and they don't disappoint. It's a lot of fun to watch the mega-snake scarf down its victims and-in the case of Voight-regurgitate 'em right back up again, all covered in gooey digestive juices. You might wonder why Eric Stoltz, who plays Dr. Steven Cale, showed up for a role that requires him to be off-screen for most of the movie, but hey-when it comes to big snake movies, you might as well put your brain on hold and sit back for the slimy ride. -Jeff Shannon.

Inventive, tuneful retelling of The Wind in the Willows by filmmaker Terry Jones (Erik the Viking), and costarring many of his Monty Python pals. The film relies on creative dramatics and subtle costumes to show the human actors playing the various animal characters. We follow Mr. Mole (Steve Coogan), whose home is destroyed by a feisty band of weasels who want to make over the peaceful "wild wood" for economic means. Rat (Eric Idle) and the noble Badger (Nicol Williamson) are enlisted to help, but the rich and foolish Mr. Toad (Jones) and his enthusiasm for automobiles-and his ability to wreck them-soon lay waste to his friends' noble efforts. Python members Michael Palin and John Cleese have small roles as, respectively, the all-knowing Sun and Mr. Toad's lawyer. Three-time Oscar winner James Acheson (The Last Emperor) provides the delightful costumes and production design. The film is not as fun as ex-Python member Terry Gilliam's creative films (Time Bandits) but this is one of those films that deserves an audience. [+]

Following Val Kilmer's portrayal of the caped crusader in Batman Forever, the fourth Batman feature stars George Clooney under the pointy-eared cowl, with Chris O'Donnell returning as Robin the Boy Wonder. This time the dynamic duo is up against the nefarious Mr. Freeze (Arnold Schwarzenegger), who is bent on turning the world into an iceberg, and the slyly seductive but highly toxic Poison Ivy (Uma Thurman), who wants to eliminate all animal life and turn the Earth into a gigantic greenhouse. Alicia Silverstone lends a hand as Batgirl, and Elle McPherson plays the thankless role of Batman/Bruce Wayne's fiancée. A sensory assault of dazzling colors, senseless action, and lavish sets run amok, this Batman & Robin offers an overdose of eye candy, but it is strictly for devoted Bat-o-philes. -Jeff Shannon.

When Battlefield Earth was released in May 2000, this inept sci-fi epic qualified as an instant camp classic, prompting Daily Variety to call it "the Showgirls of sci-fi shoot-'em-ups. " Other reviews were united in their derision, and toy stores were left with truckloads of Battlefield Earth action figures that nobody wanted. As the film's star and coproducer, John Travolta must have felt an urge to enlist in the witness protection program. Recklessly adapted from the novel by sci-fi author and Scientology founder L. Ron Hubbard and set in the year 3000, the film is no worse than many cheesy sci-fi flicks, but the sight of Travolta as a burly, dreadlocked alien from the planet Psychlo provokes unintentional laughter from first frame to final credits. As Terl, the Psychlo security chief who conquers Earth and hatches a secret scheme to steal all the gold from Fort Knox (which sits conveniently in wide-open vaults), Travolta hams it up as if he knows he's in a camp-fest. (In a cameo as a long-tongued Psychlo seductress, Travolta's wife, Kelly Preston, only adds to the absurdity. ) Barry Pepper (the praying sharpshooter from Saving Private Ryan) tries his best to convey charisma as Jonnie, the human slave who leads an uprising against Terl's tyranny, but he's adrift in a foolish plot that makes even smart humans look stupid. The decrepit look of a dreary future is convincingly established (the ruins of Washington D. C. [+]

More remake than sequel, Men in Black II safely repeats everything that made Men in Black the blockbuster hit of 1997. That's fine if you loved the original's fresh humor, weird aliens, and loopy ingenuity, but as sequels go, it's pure déjà vu. Makeup wizard Rick Baker is the only MIB alumnus who's trying anything new, while director Barry Sonnenfeld and costars Will Smith and Tommy Lee Jones (as alien-fighting agents Jay and Kay, respectively) are on autopilot with an uninspired screenplay. The quest of a multitentacled alien-on Earth in the form of Lara Flynn Boyle-for the light of Zartha requires Jay to deneuralize Kay, whose restored memory contains the key to saving the planet. The tissue-thin premise allows all varieties of special effects-mostly familiar, with some oddly hilarious new stuff tossed in for good measure. Certainly enjoyable as a popcorn distraction, but the MIB magic has worn a bit thin. -Jeff Shannon.

Marilyn Manson worked on the soundtrack, so it's no surprise that Resident Evil is best enjoyed by headbangers, goth guys, and PlayStation junkies. Like the interactive game it's based on, this horror hybrid pits a small band of SWAT-like commandos (including Milla Jovovich and Girlfight's Michelle Rodriguez) against a ravenous hoard of zombies, resulting in a gorefest that only sociopaths could love. The tenacious heroes are trapped inside the Hive-an underground complex where an evil corporation conducts illegal research with a deadly virus-and the zombies (reanimated corpses of sacrificed employees) are fodder for endless rounds of gunfire. It's utter nonsense (not unlike director Paul W. S. Anderson's previous Event Horizon), so your best defense is to wallow in it or avoid this trash altogether. A few cool sequences are borrowed from better films (that slice-and-dice laser is cribbed from the 1998 Canadian shocker Cube), but if you're in the mood for heavy-metal carnage, this movie's for you. -Jeff Shannon.

In between his breakthrough film (Life Is Sweet) and his world sensation (Secrets and Lies), filmmaker Mike Leigh created his most abrasive and daring film, Naked. This "Angry Young Man" for the 1990s follows an acidic wanderer (Cannes award winner David Thewlis) who observes a corrosive Britain. An intellectual, bitter film filtered with debauchery and black humor, Naked follows the bemusing Johnny as he crosses in and out of doorways, drifting into old acquaintances and new lost souls. It is more of a character film than sheer entertainment and thus it can be hard to watch, but it offers one of the great performances of the 1990s. Thewlis would have been an Oscar shoo-in if he'd worn a tuxedo and repressed his emotions. He didn't, and his brilliant work went unrecognized in mainstream America. -Doug Thomas.

Bicentennial Man was stung at the 1999 box office, due no doubt in part to poor timing during a backlash against Robin Williams and his treacly performances in two other, then-recent releases, Jakob the Liar and Patch Adams. But this near-approximation of a science fiction epic, based on works by Isaac Asimov and directed, with uncharacteristic seriousness of purpose, by Chris Columbus (Mrs.  Doubtfire), is much better than one would have known from the knee-jerk negativity and box-office indifference. Williams plays Andrew, a robot programmed for domestic chores and sold to an upper-middle-class family, the Martins, in the year 2005. The family patriarch (Sam Neill) recognizes and encourages Andrew's uncommon characteristics, particularly his artistic streak, sensitivity to beauty, humor, and independence of spirit. In so doing, he sets Williams's tin man on a two-century journey to become more human than most human beings. As adapted by screenwriter Nicholas Kazan, the movie's scale is novelistic, though Columbus isn't the man to embrace with Spielbergian confidence its sweeping possibilities. Instead, the Home Alone director shakes off his familiar tendencies to pander and matures, finally, as a captivating storyteller. But what really makes this film matter is its undercurrent of deep yearning, the passion of Andrew as a convert to the human race and his willingness to sacrifice all to give and take love. Williams rises to an atypical challenge here as a futuristic Everyman, relying, perhaps for the first time, on his considerable iconic value to make the point that becoming human means becoming more like Robin Williams. [+]

This earnest effort at media criticism is never convincing enough to stir a viewer's outrage in the way filmmaker Costa-Gavras (Music Box) might have intended. John Travolta plays a barely educated museum guard who is laid off from his job and ends up holding his former boss (Blythe Danner) and a bunch of schoolchildren hostage. Dustin Hoffman is a former television-network journalist making a grab at the limelight again by pushing and controlling press coverage of the story. What follows is by the numbers and not nearly as enlightening or enthralling as other films (such as Dog Day Afternoon or Billy Wilder's Ace in the Hole) about simple events manipulated into a media circus. Despite Travolta's tragic performance and Hoffman's impassioned one, the film breaks up over efforts to blame electronic voyeurism for social chaos. The DVD release has optional full-screen and widescreen presentations, production notes, theatrical trailer, television spots, optional French soundtrack, French or Spanish subtitles, and Dolby sound. -Tom Keogh.

A masterpiece of filmmaking artifice and mood-setting atmosphere, Kwaidan consists of four ghost stories adapted from the fiction of Greek-born Lafcadio Hearn (a. k. a. Yakumo Koizumi, 1850-1904), who assimilated into Japanese culture so thoroughly that his writings reveal no evidence of Western influence. So it is that these four cinematic interpretations-perhaps more accurately described as tales of spectral visitation-are sublimely Japanese in tone and texture, created entirely in a studio with frequently stunning results. There are painterly images here that remain the most beautiful and haunting in all of Japanese cinema, presented with the purity of silent film, sparsely accompanied by post-synchronized sounds and music (by Toru Takemitsu) that enhance the otherworldly effect of director Masaki Kobayashi's meticulous imagery. When viewed in a receptive frame of mind, Kwaidan can be intensely hypnotic. Each of the four stories find their protagonists confronted by spirits that compel them to (respectively) make amends for past mistakes, maintain vows of silence, satisfy the yearnings of the undead, or capture phantoms that remain frightfully elusive. As each tale progresses, their supernatural elements grow increasingly intense and distant from the confines of reality. With careful use of glorious color and wide-screen composition, Kwaidan exists in a netherworld that is both real and imagined, its characters never quite sure they can trust what they've seen and heard. [+]

The primary appeal of dance movies is the dancing, with some added emphasis on the romance the art expresses. Center Stage wins on these counts, despite its reveling in overly familiar characters and formula plotting. Or maybe this reveling is responsible for what goofy fun this film is. The arduous task of becoming a professional ballet dancer is incarnated by many good-looking teens, all stock dance-film characters affectionately portrayed mostly by newcomers. But center stage holds Jody Sawyer (Amanda Schull), who may never be a great ballerina, but she's certainly one sexy jazz dancer. Then there's the arrogant genius (Ethan Stiefel), the dictatorial impresario (Peter Gallagher), the demanding instructor, the bulimic, the stage mother, etc. As we follow these characters, the message develops that one should let go and do what feels good. Jody may not be ballet material, but she scorches the stage when she's uninhibited. And that's really the fun of this movie, which is never seriously interested in ballet to begin with. One ludicrous scene depicts one of the dancers quitting because she realizes she never wanted to be a dancer to begin with but was pushed into it by her overbearing mother. [+]