Certainly, Charlie Chaplin at this point in his career (1952) had earned the right to reflect on his years as an entertainer, and could make his film as overlong and soppy and sentimental as he darn well pleased. But that doesn't mean the rest of us have to abet this kind of melodramatic indulgence. Chaplin stars as Calvero, a fading clown who helps a paralyzed dancer regain the use of her legs and achieve great fame, but of course at grave cost to Calvero. The film is famous for featuring the only onscreen teaming of Chaplin with the other legendary comic of the silent era, Buster Keaton, and is equally infamous for Chaplin having allegedly cut out most of Keaton's best bits in their sequence together. How much Chaplin sabotaged his own movie to keep Keaton from shining has been much debated, but consider: In Keaton's autobiography, he calls Chaplin the greatest screen comic of all time. In Chaplin's autobiography, he never mentions Keaton. -David Kronke.

Clever and original, this horror film directed by Steve Miner (Forever Young) stars Julian Sands as a 17th century warlock who escapes the gallows and is transported-along with the witch hunter who brought him to trial (Richard E. Grant)-300 years into the future. Running loose in contemporary Los Angeles, Sands's supernatural monster sets about reuniting the scattered portions of a Devil's Book that will reveal the true name of God and thus destroy mankind. In a great twist, the last bit of the book is in a very interesting place: the grave of Grant's character, who has enlisted the aid of a woman (Lori Singer) in a hurried effort to stop imminent disaster. Genuinely involving, Warlock is aided immeasurably by sharp performances from the equally eccentric Grant (Withnail and I) and Sands (Naked Lunch). Miner invents his way through a kind of simultaneously new and old horror tale, and the results are taut, fun, and surprising. -Tom Keogh.

This sci-fi road journey is set in the near future (1999-six years after the film was initially released). Human civilization has been devastated by a mysterious wind that erased everyone's memories-even the basics of language and self-care that real amnesia doesn't affect. Their minds wiped clean, the survivors haunt the ruined cities, scavenging for food. Wateru ("traveler" in Japanese), whose mind was laboriously restored by a survivor at a government research facility, wanders through America in a jeep, trying to bring knowledge to people. In San Francisco, he meets Sophia, a mysterious woman with unexplained powers; she joins him on a journey to New York that turns into a transcontinental escape from a murderous and seemingly indestructible robot. Along the way, they encounter the members of a cult that worships an enormous wrecking machine, and two puppetlike survivors in an fully mechanized city. Wateru struggles to fulfill his mission to start people on the long journey back to civilization, but he often has to rely on Sophia's extraordinary powers of communication. A Wind Called Amnesia is more thoughtful and less violent than most anime features; unfortunately, it ends on a weak, unsatisfying note. Rating: 16 and older for animated sex and some violence. -Charles Solomon.

Unavailable at all for nearly three decades, then issued in a VHS edition in 1996, the Rolling Stones' legendary Rock and Roll Circus finally gets the full treatment with this DVD release documenting the 1968 event. The Stones were reportedly unhappy with their performance (hence the long delay), and it isn't their finest moment; performing "Jumping Jack Flash" and a variety of songs from their then-new Beggars Banquet album, Keith Richards is game, but Jagger's preening (especially on "Sympathy for the Devil") is over the top, and guitarist Brian Jones looks dissolute and well on his way to his death the following year. A certain weirdness permeates some of the other musical acts as well: Jethro Tull lip-syncs unconvincingly, Taj Mahal and band were obliged to perform before the circus set was completed and the audience had arrived, and John Lennon's outing with impromptu supergroup the Dirty Mac (with Richards, Eric Clapton, and drummer Mitch Mitchell) is hampered by Yoko Ono's caterwauling, although their version of the Beatles' "Yer Blues" is cool. Still, the Who are brilliant, Marianne Faithfull is beautiful, the various circus acts are fun, and the crowd clearly loves it. The DVD comes with some fascinating bonus features, including three extra songs by Mahal, some lovely classical piano by Julius Katchen, and a "quad split-screen" version of "Yer Blues. " Best of all are a new interview with the Who's Pete Townshend and the various commentary tracks added for the DVD-especially those by Tull's Ian Anderson, director Michael Lindsay-Hogg, and Stones Jagger, Richards, and Bill Wyman (who dryly attributes Jagger's reluctance to issue the show to his dissatisfaction with his own performance, not the band's). Flaws notwithstanding, this is a treat. -Sam Graham.

Not many movies can take credit for bringing about the demise of a movie studio-but Michael Cimino's ego-driven, overblown Western is one of them. These days, its $40 million budget would barely cover the cost of an Adam Sandler film-but in 1981, it virtually put United Artists out of business. Cimino, fresh from an Oscar for The Deer Hunter, spent months assembling this ultimately gorgeous and confusing story of the Johnson County cattle wars of 1881, with a cast that included Kris Kristofferson, Jeff Bridges, John Hurt, Christopher Walken, Isabelle Huppert, and many more. Almost four hours in its original form, the film was cut to less than three for an abortive commercial release, then restored for video. Anyway you look at it, this is a mess better viewed as a curiosity than anything else. -Marshall Fine.

This vintage Italian production of Ulysses is best enjoyed as Homeric adventure for kids. While The Odyssey is handled with admirable fidelity, you may suppress a chuckle when Kirk Douglas, as the titular Greek hero, speaks English and Italian, dubbing himself in English! Looking like a Spartacus wannabe, Douglas brings appropriate gravity to his classically mythic exploits. Having sacked Troy, Ulysses and his stalwart crew set sail for Ithaca, only to be delayed for a decade by such epic distractions as a giant Cyclops (a memorable highlight), the madness-inducing Sirens, and the deceptive Circe, who turns men into swine. Meanwhile, Ulysses's loyal wife Penelope (Silvana Mangano) is being wooed by suitors (including Anthony Quinn, fresh from Fellini's La Strada), making Ulysses's homecoming an urgent necessity. Resembling a Ray Harryhausen fantasy without "dynamation," this ambitious film boasts impressive special effects (for its time), and the kind of lavish sets and costumes that were once an Italian specialty. -Jeff Shannon.

At turns both mesmerizing and frustrating, Mike Figgis's 1999 experimental feature interweaves an audacious dramatization of the Adam and Eve myth with autobiographical vignettes from the director's life. In Figgis's golden rendering of the Genesis tale, the first humans are a black man (Femi Ogumbanjo) and a white woman (Hanne Klintoe), who emerge one day, fully formed, from a lake, and regard each other with playful wonder. They discover, like children, their anatomical differences, and explore the surrounding green paradise until coming upon the tree of knowledge. From this they eat and almost instantly reevaluate one another with a steely lust. Thus their, and our, fabled fall from grace ends in the mire of sexual possession and walled-off feeling, a tragedy that Figgis (Leaving Las Vegas) uses as a touchstone for the contemporary story of a filmmaker named Nic (Julian Sands). Nic's own youthful experiences with various kinds of formative humiliation, including finding his teenage girlfriend in bed with his best friend, are presented as flashbacks meant to resonate with his marital unhappiness today. Less clear are other moments out of time that don't particularly connect with Figgis's major theme, especially an odd development in which twin sisters (both played by Saffron Burrows), each unaware of the other's existence, have a fleeting, worlds-are-colliding encounter at an airport. Figgis also reaches into a grab bag of Nic's other old sorrows, things that don't uniquely inform or enhance the film's point, and muddies things up a bit. But the sheer hubris of marrying a myth with a memoir carries the day here, and Figgis leaps the hurdle of potential self-parody with a certain courage. -Tom Keogh.

Perhaps only the French could create a movie with the sexual heat of The School of Flesh. International star Isabelle Huppert, a strawberry-blonde beauty with brimming blue eyes, is Dominique, a successful businesswoman of "a certain age. " Quentin (model-pretty Vincent Martinez) is a bisexual male hustler half her age. They begin an affair after meeting at a disco, and their relationship turns toxic in short order-a compulsion that neither can shake, with negative consequences for both. Each is drawn inexorably into a hurtful game of cat and mouse, switching roles back and forth with every round. More than anything else, the film does a truly convincing job of depicting the exquisite pain of addictive relationships. It is impossible not to become drawn into the enticing energy of the affair-to hope it won't end, while knowing it must. The School of Flesh takes us on an irresistible walk on the wild side. -Laura Mirsky.