The success ofUnder Siege made a sequel mandatory according to Hollywood's rules of maximum revenue, and as sequels go, this one's not half bad. Steven Seagal returns as former Navy SEAL and skilled chef Casey Ryback, who's trying to spend quality time with his niece on a cross-country train trip. But as luck and action-movie formulas would have it, the train has been hijacked by a demented genius (Eric Bogosian) who is using the train as a moving platform to seize computerized control of a top-secret U. S. satellite that is capable of causing earthquakes from space. Seagal has to stop the train or the villain (whichever comes first), and the action is fast and furious on its way to a high-speed climax. He's not as wacky as Tommy Lee Jones in the first Under Siege, but Bogosian has got a delirious quality that serves the comic-book plot, and action fans get more than their fill of dazzling stunts and special effects. -Jeff Shannon.

Slick to a fault, this glossy action flick takes place in sunny Florida, where Martin Lawrence and Will Smith play two cops-one married with kids, the other a swinging bachelor. The two are forced to trade places to foil criminal mastermind Fouchet (Tchéky Karyo) who has stolen $100 million worth of heroin from a police lockup. Violent, illogical, and filled with wall-to-wall profanity, Bad Boys was the last film produced by the hit-making team of Don Simpson and Jerry Bruckheimer before Simpson's untimely death, and marked the directorial debut of Michael Bay who followed up with The Rock. Bad Boys will be of interest to action buffs and fans of Téa Leoni, who makes one of her early screen appearances in the central supporting role. -Jeff Shannon.

A pre-Phantom Michael Crawford plays Woody, a goofy cartoonist-accidentally-turned-spy in this Cold War-era lark. In Paris visiting his friend, a CIA "file clerk," Woody is sent on a cloak-and-dagger errand and is mistaken for an operative by his beautiful Russian counterpart. She then contacts the agency with the demand that he, and only he, help her defect. Writer adopts comic book persona and voilà: Condorman! This wide-winged hero thwarts the pesky Soviets at every turn. From the old run-down farmer's truck he's driving emerges a flashy race car that outruns a fleet of Russian vehicles. Later, in a Chitty Chitty Bang Bang moment, the car sprouts floaters, allowing the pair to escape their pursuers by sea. Barbara Carrera's Natalia-the true spy of the two-is really just along for the ride. It's Condorman's show, as confirmed by the ending: a shot-filled showdown off the shores of Monte Carlo. -Kimberly Heinrichs.

Robert De Niro stars as an American intelligence operative adrift in irrelevance since the end of the Cold War-much like a masterless samurai, a. k. a. "ronin. " With his services for sale, he joins a renegade, international team of fellow covert warriors with nothing but time on their hands. Their mission, as defined by the woman who hires them (Natascha McElhone), is to get hold of a particular suitcase that is equally coveted by the Russian mafia and Irish terrorists. As the scheme gets underway, De Niro's lone wolf strikes up a rare friendship with his French counterpart (Jean Reno), gets into a more-or-less romantic frame of mind with McElhone, and asserts his experience on the planning and execution of the job-going so far as to publicly humiliate one team member (Sean Bean) who is clearly out of his league. The story is largely unremarkable-there's an obligatory twist midway through that changes the nature of the team's business-but legendary filmmaker John Frankenheimer (Seconds, The Manchurian Candidate) leaps at the material, bringing to it an honest tension and seasoned, breathtaking skill with precision-action direction. The centerpiece of the movie is an honest-to-God car chase that is the real thing: not the how-can-we-top-the-last-stunt cartoon nonsense of Richard Donner (Lethal Weapon), but a pulse-quickening, kinetic dance of superb montage and timing. In a sense, Ronin is almost Frankenheimer's self-quoting version of a John Frankenheimer film. [+]

Director Sam Fuller's 1951 The Steel Helmet was probably the first movie to deal with the Korean War; undoubtedly China Gate was one of the first to discuss Vietnam. In the early days of the Vietnam War, a motley crew of mercenaries and French Legionnaires set out to destroy a Communist ammunition dump and hobble the war effort of the Vietcong. An element of melodrama is added when the tough sergeant Brock is confronted by his ex-wife (Angie Dickinson-as a Eurasian?); he doesn't want anything to do with their son simply because the boy is of Asian descent. What would be a fairly routine war film is livened by its setting and the familiar fixations that Sam Fuller often addresses in his movies. Antihero Brock refuses to face his son and by doing so refuses to admit his own racism. As in The Steel Helmet, one of the supporting roles is held down by a black actor-Nat "King" Cole, in this case. The interplay and conflicts between characters lives up to Fuller's quote of "film is like a battlefield," with emotions running the show and setting the entire tone of the movie. It may not be one of Sam Fuller's greatest movies, but it's certainly interesting, if for no other reason than its early look at the dynamics of the Vietnam War. -Jerry Renshaw.

When an extreme-sports filmmaking team sets out to make a commercial featuring a gold-medal skier outrunning an avalanche, they run afoul of a Serbian war criminal hiding out in a mountain resort. So it's snowboards vs. bullets on steep slopes of snow-and if that's your thing, Extreme Ops is for you. There are also subplots about the high-class skier (Bridgette Wilson-Sampras, House on Haunted Hill) trying to prove herself with the rough-and-tumble snowboard scamps, and various romantic sparks flying, but the only real point to this movie is lengthy shots of stuntpeople zipping down the mountainsides. Though it could stand to have less plot and more action, there's a good dose of spectacle nonetheless. Rufus Sewell (Dark City), Devon Sawa (Final Destination), and the cast do a serviceable job, but poor Brit Rupert Graves (excellent in Mrs. Dalloway) was forced to act through a terrible American accent. -Bret Fetzer.

A high-profile action/exploitation thriller set in the present, The Siege is really a fantasy that extrapolates from major terrorist attacks. Denzel Washington is FBI special agent Hubbard, "Hub" to his friends, whose anti-terrorist task force must track down the terrorist cells responsible for a spate of bombings in New York. His partner is an FBI agent of Arabian extraction (played convincingly by Tony Shalhoub), proving not all Arabs are bad guys-a point the film should be lauded for making again and again. Thrown into the mix is a CIA spy (played almost kittenish at times by Annette Bening), whose ties to the terrorists appear to be at the center of the conflicts. When the bombings escalate out of control, the President institutes martial law, sending in General Devereaux (played with impenetrable countenance by Bruce Willis) with tanks and troops to ferret out the terrorists. Echoes of Japanese-Americans in internment camps ring out as Arabs, including the son of the Arab-American FBI agent, are herded into a stadium. Periodic audio-montages of "man in the street" sentiments anchor the material in the present and show how serious and relevant the material is. But finally what we have is a taut and entertaining popcorn movie, giving itself the humanistic nod when it can. -Jim Gay When a crowded city bus blows up in Brooklyn and a campaign of terror begins to make it's bloody mark on the streets of New York, it's up to FBI special agent Anthony "Hub" Hubbard (Washington) and U. S. [+]