Val Kilmer sizzles as Simon Templar, Aka the saint, a gentleman thief and master of disguise caught in a deadly web of international intrigue.

A SMALL BAND OF U.S. SOLDIERS ARE SENT ON A MISSION DURING THE TUMULTUOUS BATTLE AT NORMANDY TO FIND THE LONE SURVIVOR OF FOUR BROTHERS IN STEVEN SPIELBERG'S BRUTALLY HONEST, WORLD WAR II EPIC. SPECIAL FEATURES: CAST AND FILMMAKERS' BIOS: PRODUCTION NOTES: INTERACTIVE MENUS: TWO THEATRICAL TRAILERS AND MORE.

After an acrimonious break up the mystery inc. Gang are individually brought to an island resort to investigate strange goings on. Studio: Warner Home Video Release Date: 11/13/2007 Starring: Freddie Prinze Jr Matthew Lillard Run time: 86 minutes Rating: Pg

In an ancient time predating the pyramids the evil king memnon is using the psychic powers of his sorceress cassandra to fortell his great victories. In a last ditch effort to stop memnon from taking over the world the leaders of the remaining free tribes hire the assassin mathayus to kill the soceress. Studio: Uni Dist Corp. (mca) Release Date: 06/21/2002 Starring: The Rock Michael Clarke Duncan Run time: 92 minutes Rating: Pg13 Director: Chuck Russell

The most viscerally frightening and disturbing homicidal maniac picture since The Silence of the Lambs, Seven is based on an idea that's both gruesome and ingenious. A serial killer forces each of his victims to die by acting out one of the seven deadly sins. The murder scene is then artfully arranged into a grotesque tableau, a graphic illustration of each mortal vice. From the jittery opening credits to the horrifying (and seemingly inescapable) concluding twist, director David Fincher immerses us in a murky urban twilight where everything seems to be rotting, rusting, or molding; the air is cold and heavy with dread. Morgan Freeman and Brad Pitt are the detectives who skillfully track down the killer—all the while unaware that he has been closing in on them, as well. Gwyneth Paltrow and Kevin Spacey are also featured, but it is director Fincher and the ominous, overwhelmingly oppressive atmosphere of doom that he creates that are the real stars of the film. It's a terrific date movie—for vampires. —Jim Emerson

When this popular prison drama was released in 1994, some critics complained that the movie was too long (142 minutes) to sustain its story. Those complaints miss the point, because the passage of time is crucial to this story about patience, the squeaky wheels of justice, and the growth of a life-long friendship. Only when the film reaches its final, emotionally satisfying scene do you fully understand why writer-director Frank Darabont (adapting a novella by Stephen King) allows the story to unfold at its necessary pace, and the effect is dramatically rewarding. Tim Robbins plays a banker named Andy who's sent to Shawshank Prison on a murder charge, but as he gets to know a life-term prisoner named Red (Morgan Freeman), we realize there's reason to believe the banker's crime was justifiable. We also realize that Andy's calm, quiet exterior hides a great reserve of patience and fortitude, and Red comes to admire this mild-mannered man who first struck him as weak and unfit for prison life. So it is that The Shawshank Redemption builds considerable impact as a prison drama that defies the conventions of the genre (violence, brutality, riots) to illustrate its theme of faith, friendship, and survival. Nominated for seven Academy Awards including Best Picture, Actor, and Screenplay, it's a remarkable film that signaled the arrival of a promising new filmmaker—a film that many movie lovers count among their all-time favorites. —Jeff Shannon

Stanley Kubrick's The Shining is less an adaptation of Stephen King's bestselling horror novel than a complete reimagining of it from the inside out. In King's book, the Overlook Hotel is a haunted place that takes possession of its off-season caretaker and provokes him to murderous rage against his wife and young son. Kubrick's movie is an existential Road Runner cartoon (his steadicam scurrying through the hotel's labyrinthine hallways), in which the cavernously empty spaces inside the Overlook mirror the emptiness in the soul of the blocked writer, who's settled in for a long winter's hibernation. As many have pointed out, King's protagonist goes mad, but Kubrick's Jack Torrance (Jack Nicholson) is Looney Tunes from the moment we meet him—all arching eyebrows and mischievous grin. (Both Nicholson and Shelley Duvall reach new levels of hysteria in their performances, driven to extremes by the director's fanatical demands for take after take after take.) The Shining is terrifying—but not in the way fans of the novel might expect. When it was redone as a TV miniseries (reportedly because of King's dissatisfaction with the Kubrick film), the famous topiary-animal attack (which was deemed impossible to film in 1980) was there—but the deeper horror was lost. Kubrick's The Shining gets under your skin and chills your bones; it stays with you, inhabits you, haunts you. And there's no place to hide... —Jim Emerson

AFTER TRAGEDY STRIKES, QUOYLE, A HAPLESS, LONELY UPSTATE NEW YORKER DECIDES TO MOVE HE AND HIS DAUGHTER TO HIS ANCESTRAL HOME IN NEWFOUNDLAND. IN THE SMALL FISHING VILLAGE OF KILLICK-CLAW, QUOYLE SECURES A JOB AS A REPORTER AT THE LOCAL NEWSPAPER.

Can a buddy-cop parody still qualify as a good buddy-cop movie? Showtime struggles to prove it's possible, and with a few solid laughs it almost succeeds. No movie starring Eddie Murphy and Robert De Niro could be a total turkey, and their pairing—as (respectively) a brash patrol cop/wannabe actor and a seasoned detective with zero tolerance for showmanship—yields a few choice moments of slick, professional comedy. Still, most of Showtime represents a missed opportunity, squandering Rene Russo's talent as a TV producer who casts Murphy and De Niro in a buddy-cop reality show that turns them into overnight celebrities. In an effort to repeat the modest success of Shanghai Noon, director Tom Dey capitalizes on the casual chemistry of his leads (especially Murphy, who outshines his costars) until parody succumbs to routine action involving big guns and bad guys. With a sharper sense of satire, this passable entertainment could have been a comedy juggernaut. —Jeff Shannon

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

STORY OF THE HESS FAMILY IN BUCK COUNTY PA WHO WAKE UP ONE MORNING TO FIND A 500 FOOT CROP CIRCLE IN THEIR BACKYARD. EMOTIONAL STORY OF ONE FAMILY ON ONE FARM AS THEY ENCOUNTER TERRIFYING LAST MOMENTS OF LIFE AS THE WORLD IS INVADED.

Based on Thomas Harris's novel, this terrifying film by Jonathan Demme really only contains a couple of genuinely shocking moments (one involving an autopsy, the other a prison break). The rest of the film is a splatter-free visual and psychological descent into the hell of madness, redeemed astonishingly by an unlikely connection between a monster and a haunted young woman. Anthony Hopkins is extraordinary as the cannibalistic psychiatrist Dr. Hannibal Lecter, virtually entombed in a subterranean prison for the criminally insane. At the behest of the FBI, agent-in-training Clarice Starling (Jodie Foster) approaches Lecter, requesting his insights into the identity and methods of a serial killer named Buffalo Bill (Ted Levine). In exchange, Lecter demands the right to penetrate Starling's most painful memories, creating a bizarre but palpable intimacy that liberates them both under separate but equally horrific circumstances. Demme, a filmmaker with a uniquely populist vision (Melvin and Howard, Something Wild), also spent his early years making pulp for Roger Corman (Caged Heat), and he hasn't forgotten the significance of tone, atmosphere, and the unsettling nature of a crudely effective close-up. Much of the film, in fact, consists of actors staring straight into the camera (usually from Clarice's point of view), making every bridge between one set of eyes to another seem terribly dangerous. —Tom Keogh

The sailor of legend is framed by the goddess eris for the theft of the book of peace and must travel to her realm at the end of the world to retrieve it and save the life of his childhood friend prince proteus. Studio: Paramount Home Video Release Date: 02/13/2007 Starring: Voices Of Brad Pitt Michelle Pfieffer Run time: 86 minutes Rating: Pg