In 1972 a chartered plane carrying a Uruguayan rugby squad and various family members crashed in the Andes. If that sounds dry and matter-of-fact, you haven't seen director Frank Marshall's harrowing re-creation Alive, an adrenaline-pounding, heart-in-your-mouth spectacle that kicks off this famous story of survival. The real-life against-all-odds odyssey made worldwide headlines when it became known that the survivors ate their own dead to survive. What could have easily become sensationalistic exploitation is treated with compassion and dignity by Marshall as he explores their moral and spiritual struggles as well as their physical ordeal. As team captain and base-camp cheerleader Vincent Spano slowly collapses under the stress and Ethan Hawke rouses from mourning his dead family to taking charge of saving himself, it also becomes a portrait in leadership, hope, and emotional courage. -Sean Axmaker.

The third of Eric Rohmer's Four Seasons romances follows the indecision of a young man who juggles three women during his final summer between school and work. Drifting along the beaches of Brittany while waiting for his commitment-shy girlfriend, Lena, to meet him, Gaspard (Melvil Poupaud of Diary of a Seducer) becomes fast friends with pretty waitress Margot (Amanda Langlet, the grown-up Pauline of Pauline at the Beach a decade earlier) and has a fling with Margot's aggressive and sexy friend Solene before Lena finally shows. By then, Gaspard has inadvertently committed himself to all three women. It's a lovely portrait of awkwardness and ambivalence set against the gorgeous land and seascape of Brittany, and populated by pretty young performers. This, the most understated of Rohmer's sex farces, carries a bittersweet sting, but little of the emotional effervescence of his best films. While these characters are no less pretentious or vulnerable than his other lovers (who all seem to be emotionally at sea), Rohmer just skims the surface of their emotional revelation. His greatest achievement is the evocation of young adults caught between their teens and 20s, with little real experience but full of easily sidelined ideals. In the best Rohmer tradition, the circular conversations and solipsistic monologues are neither glib nor pretentious, merely the immature but sincere ramblings of vulnerable youth playing adult games. -Sean Axmaker.

Based on a manga series by Masamune Shirow (Ghost in the Shell), Appleseed is an interesting, early mecha adventure. After World War III, "General Management Control Office" created the model city of Olympus for the survivors. They also created the "Biodroids," half-human cyborgs designed to serve humanity. Dunan Nats is a tough female cop; her partner, Buliarous Hekatonecles, was badly injured in the war and rebuilt with mechanical limbs and sensors. Together they pursue a cyborg terrorist and a rogue officer who want to destroy Olympus, which they see as an elaborate cage that limits human freedom. Released the same year, 1988, Akira pointed the way to much of the future of anime. Appleseed largely summarized its past. The character designs display a strong Western influence, the mecha are simpler than they would become in a few years, the violence looks tame by contemporary standards, and the chase sequences are accompanied by what sounds like elevator music. Although Dunan is clearly the ancestor of Motoko in Ghost in the Shell, she keeps her clothes on. Significantly, the forces of law and order emerge victorious, rather than the freedom-seeking rebels of this elegant dystopia. [+]

In the 1960s and early '70s, Claude Chabrol was celebrated as the Gallic Hitchcock for his crisp, character-rich thrillers. La Cérémonie, his 1997 hit adapted from Ruth Rendell's novel A Judgement in Stone, is a return to form, an assured domestic drama set in the upper-class household of the kind but condescending Lelievres family. Sandrine Bonnaire, excellent in an enigmatic, uncommunicative role, stars as their new, neurotically silent maid Sophie. She performs her duties efficiently and emotionlessly, staring out from behind an implacable, mask-like face born of loneliness and defensiveness. Isabelle Huppert is the town's gleefully misanthropic postmistress Jeanne, a gossipy, energetically insolent misfit who hates the Lelievres. When she becomes Sophie's best friend, her pathological game of taunts and gossip goes into overdrive with her sudden access to their house, and an already simmering class conflict boils over in unleashed anger. Chabrol charts the cascade of mischief and misunderstandings to its shattering conclusion, with a sensitivity to character and an eagle-eyed remove that makes the explosive climax all the more chilling. It's a devastating thriller, one of Chabrol's best, and a powerful portrait in hate and psychosis pushed over the edge in misunderstanding, manipulation, and mistrust. Jacqueline Bisset is the fumbling but sincere Mme. Lelievres, Jean-Pierre Cassel her complacent husband, and Virginie Ledoyen (A Single Girl) their sensitive young daughter. [+]

Goldie Hawn plays a physical education teacher who gets a chance to coach an inner-city high school football team. If that sounds contrived, it is, but in the hands of director Michael Ritchie (Smile), the jokes all fire, and there's plenty of comedy teased out in details. (The cheerleading squad has some funny moments just belting out their morale-boosting chants. ) The supporting cast has a couple of significant up-and-comers: Woody Harrelson and Wesley Snipes. -Tom Keogh.

Paul (François Cluzet) and Nelly (Emmanuelle Béart) have what seems to be a storybook marriage. They love each other madly and have worked together to turn their little lakeside inn into a gorgeous resort getaway while raising an adorable son. But there's a problem: Paul is convinced Nelly is having an affair and his jealousy spins to insane proportions. Hallucinations and nightmares twist his dementia until he imagines her sleeping with every man in sight, and his obsessive spying turns Nelly's life into a living hell. Claude Chabrol (director of La Cérémonie, known as the Gallic Hitchcock for his cool thrillers of obsessive love and homicidal passion, created his film from an original unfilmed screenplay by Henri-George Clouzot (Les Diaboliques). He injects Clouzot's dark, misanthropic tale with a soupçon of Hitchcock's voyeuristic obsession, but ultimately makes the film his own with unexpected sympathy for Paul, whose pathological jealousy spins out of control in a chilling conclusion that leaves the viewers uncomfortably nestled in his madness. The film faced charges of misogyny upon release largely because Chabrol remained steadfast in his portrayal of Paul not as a monster but a victim of madness (somewhat at the expense of Nelly, an angelic sexpot whose loyalty and love is almost sacrificial), but ultimately that's what gives L'Enfer its unsettling power. -Sean Axmaker.

Life among the Bloomsbury group in post-Victorian England, as seen through the relationship between writer Lytton Strachey (Jonathan Pryce in a well-wrought, if mannered performance) and painter Dora Carrington (Emma Thompson). Carrington won't give herself to any of the men in her life (including her husband)-at least not emotionally. Instead, this woman has found her soulmate in Strachey, a homosexual who, in fact, has a crush on Carrington's husband. They try to maintain a friendship outside their various romantic liaisons but keep winding up with each other. Still, despite an intriguing performance by Pryce and a cooler, less accessible one by Thompson, this film never quite takes off. Once you get the point-that this is a love that will never be consummated-you begin to wonder if, in fact, there is a larger point to be had. There isn't. -Marshall Fine.