"I see dead people," whispers little Cole Sear (Haley Joel Osment), scared to affirm what is to him now a daily occurrence. This peaked nine-year old, already hypersensitive to begin with, is now being haunted by seemingly malevolent spirits. Child psychologist Malcolm Crowe (Bruce Willis) is trying to find out what's triggering Cole's visions but what appears to be a psychological manifestation turns out to be frighteningly real. It might be enough to scare off a lesser man, but for Malcolm it's personal—several months before, he was accosted and shot by an unhinged patient, who then turned the gun on himself. Since then, Malcolm has been in turmoil—he and his wife (Olivia Williams) are barely speaking, and his life has taken an aimless turn. Having failed his loved ones and himself, he's not about to give up on Cole. The Sixth Sense, M Night Shyamalan's third feature, sets itself up as a thriller, poised on the brink of delivering monstrous scares, but gradually evolves into more of a psychological drama with supernatural undertones. Many critics faulted the film for being mawkish and New Age-y, but no matter how you slice it, this is one mightily effective piece of filmmaking. The bare bones of the story are basic enough, but the moody atmosphere created by Shyamalan and cinematographer Tak Fujimoto made this one of the creepiest pictures of 1999, forsaking excessive gore for a sinisterly simple feeling of chilly otherworldliness. Willis is in his strong, silent type mode here, and gives the film wholly over to Osment, whose crumpled face and big eyes convey a child too wise for his years; his scenes with his mother (Toni Collette) are small, heartbreaking marvels. And even if you figure out the film's surprise ending, it packs an amazingly emotional wallop when it comes, and will have you racing to watch the movie again with a new perspective. You may be able to shake off the sentimentality of The Sixth Sense but its craftsmanship and atmosphere will stay with you for days. —Mark Englehart

In this action thriller based on an early story by Stephen King, Los Angeles in the year 2017 has become a police state in the wake of the global economy's total collapse. All forms of entertainment are government controlled, and the most popular show on television is an elaborate game show in which convicted criminals are given a chance to escape by running through a gauntlet of brutal killers known as "Stalkers." Anyone who survives is given their freedom and a condominium in Hawaii, so when a wrongly accused citizen (Arnold Schwarzenegger) is chosen as a contestant, all hell breaks loose. Cheesy sets and a slimy role for game-show host Richard Dawson make this violent mess of mayhem a candidate for guilty pleasure; it is the kind of movie that truly devoted Arnold fans will want to watch more than once. And check those credits—choreography by Paula Abdul! —Jeff Shannon

It's hard to imagine how shocking this film was when it first broke on the film scene in 1968. There's never been anything quite like it, though it's inspired numerous pale imitations. Part of the terror lies in the fact that this one's shot in such a raw, unadorned fashion it feels like a home movie, and all the more authentic for that. Another is that it draws us into its world gradually, content to establish a merely spooky atmosphere before leading us through a horrifically logical progression that we could hardly have anticipated. The story is simple. Radiation from a fallen satellite has caused the dead to walk, and hunger for human flesh. Once bitten, you become one of them. And the only way to kill one is by a shot or blow to the head. We follow a group holed up in a small farmhouse to fend off the inevitable onslaught of the dead. And it's the tensions between the members of this unstable, makeshift community that drive the film. Night of the Living Dead establishes its savagery as a necessary condition of life. Marked by fatality and a grim humor, it gnaws through to the bone, then proceeds on to the marrow. Anchor Bay's 30th Anniversary Edition presents this horror classic in a pristine, newly remastered print, rescored and reedited with over 15 minutes of new footage directed by the film's writer and co-editor John A. Russo. This is a controversial "modified" version of the original film, and should be considered separately from George Romero's definitive version, released on DVD by Elite Entertainment. —Jim Gay

When it arrived on the big screen in 1987, Paul Verhoeven's RoboCop was like a high-voltage jolt of electricity, blending satire, thrills, and abundant violence with such energized gusto that audiences couldn't help feeling stunned and amazed. The movie was a huge hit, and has since earned enduring cult status as one of the seminal science fiction films of the 1980s. Followed by two sequels, a TV series, and countless novels and comic books, this original RoboCop is still the best by far, largely due to the audacity and unbridled bloodlust of director Verhoeven. However, the reasons many enjoyed the film are also the reasons some will surely wish to avoid it. Critic Pauline Kael called the movie a dubious example of "gallows pulp," and there's no denying that its view of mankind is bleak, depraved, and graphically violent. In the Detroit of the near future, a policeman (Peter Weller) is brutally gunned down by drug-dealing thugs and left for dead, but he survives (half of him, at least) and is integrated with state-of-the-art technology to become a half-robotic cop of the future, designed to revolutionize law enforcement. As RoboCop holds tight to his last remaining shred of humanity, he relentlessly pursues the criminals who "killed" him. All the while, Verhoeven (from a script by Edward Neumeier and Michael Miner) injects this high-intensity tale with wickedly pointed humor and satire aimed at the men and media who cover a city out of control. —Jeff Shannon

The hands-down highlight of MIIB's bonus features is "The Chubb Chubbs," a delightful computer-animated cartoon (briefly shown in theaters with MIIB) that has the awkward distinction of being funnier and more inventive than MIIB. The other features offer an extensive dossier of production details, paying worthy tribute to the ingenuity of MIIB's creative team. Fifteen featurettes cover virtually every stage of production, from conceptual designs (in the DVD-ROM section, along with the complete screenplay) to Danny Elfman's dynamic score. Director Barry Sonnenfeld's "how we did it" commentary is as lazily redundant as his film, and his onscreen scribblings (or "Telestrator Diagrams," like those used during televised football games) serve no valuable purpose. In contrast, multiangle scene deconstructions fascinatingly demonstrate the many elements that make up a completed special-effects sequence. The blooper reel is what you'd expect (one viewing is enough), and additional behind-the-scenes material can be accessed through the "Alien Broadcast" feature, a film-in-progress variation of New Line's Infinifilm DVD format. The alternate ending is arguably better than the one actually used, and Will Smith's ultra-lavish music video "Black Suits Comin' (Nod Ya Head)" is just like the movie: big, loud, and pure Hollywood. Is that a good thing? You decide. -Jeff Shannon

Men in Black is one movie that has been issued in so many different DVD editions it's hard to keep them straight. The latest version is the Superbit edition, which, like other DVDs in the Superbit series, offers subtle visual and audio improvements over the version of the movie included on other DVDs. The anamorphic picture in the Superbit version is cleaner than that of the anamorphic track offered in other DVDs of this movie, though in all versions occasional grain is visible in shots of the sky. Overall, though, the picture is quite impressive with its deep, rich blacks and saturated colors. The additional DTS soundtrack on the Superbit version is very similar to the Dolby Digital 5.1 tracks issued on this and other editions of the movie, though slightly more balanced throughout.

Fans of Men in Black have a variety of editions to choose from. This is the version for video- and audiophiles who don't mind the lack of extra goodies. —Eugene Wei

A fitting supplement to the feature-packed Matrix DVD, The Matrix Revisited provides a wealth of Matrix arcana, delivered by the 1999 blockbuster's principal cast and crew. The main course in this 163-minute feast is a two-hour documentary covering virtually every aspect of production, with teasing glimpses of fight training on the not-yet-released Matrix sequels. Of greater interest is the sheer depth of filmmaking coverage, with intelligent and amusing anecdotes and insights from all the major players (including graphic artist Geof Darrow, given overdue credit for his outstanding conceptual designs). Fight choreographer Yuen Woo-ping is also a fascinating subject, and his early action-blocking videos are included for comparative study. Another segment allows obsessive fans to express their fanatical zeal for all things Matrix, and a look at the in-production Matrix anime project gives them another source of inspiration. While you're pondering which pill to take (red or blue?), The Matrix Revisited should help you decide. —Jeff Shannon

Despite the inevitable law of diminishing returns, The Matrix Revolutions is quite satisfying as an adrenalized action epic, marking yet another milestone in the exponential evolution of computer-generated special effects. That may not be enough to satisfy hardcore Matrix fans who turned the Wachowski Brothers' hacker mythology into a quasi-religious pop-cultural phenomenon, but there's no denying that the trilogy goes out with a cosmic bang instead of the whimper that many expected. Picking up precisely where The Matrix Reloaded left off, this 130-minute finale finds Neo (Keanu Reeves) at a virtual junction, defending the besieged human enclave of Zion by confronting the attacking machines on their home turf, while humans combat swarms of tentacled mechanical sentinels as Zion's fate lies in the balance. It all amounts to a blaze of CGI glory, devoid of all but the shallowest emotions, and so full of metaphysical hokum that the trilogy's detractors can gloat with I-told-you-so sarcasm. And yet, Revolutions still succeeds as a slick, exciting hybrid of cinema and video game, operating by its own internal logic with enough forward momentum to make the whole trilogy seem like a thrilling, magnificent dream. — Jeff Shannon

Considering the lofty expectations that preceded it, The Matrix Reloaded triumphs where most sequels fail. It would be impossible to match the fresh audacity that made The Matrix a global phenomenon in 1999, but in continuing the exploits of rebellious Neo (Keanu Reeves), Morpheus (Laurence Fishburne), and Trinity (Carrie-Anne Moss) as they struggle to save the human sanctuary of Zion from invading machines, the codirecting Wachowski brothers have their priorities well in order. They offer the obligatory bigger and better highlights (including the impressive "Burly Brawl" and freeway chase sequences) while remaining focused on cleverly plotting the middle of a brain-teasing trilogy that ends with The Matrix Revolutions. The metaphysical underpinnings can be dismissed or scrutinized, and choosing the latter course (this is, after all, an epic about choice and free will) leads to astonishing repercussions that made Reloaded an explosive hit with critics and hardcore fans alike. As the centerpiece of a multimedia franchise, this dynamic sequel ends with a cliffhanger that virtually guarantees a mind-blowing conclusion. —Jeff Shannon

Some DVD players may experience technical difficulties while playing the Matrix DVD. The disc itself is not affected. For more information, go to the following URL: http://www.pcfriendly.com/support/title/matrix/

The Road Warrior is already a classic, sans condescending genre distinctions like "sci-fi" or "action." But the story of Mel Gibson's stately antihero begins in Mad Max, George Miller's low-budget debut in which Max is a "Bronze" (cop) in an unspecified postapocalyptic future with a buddy-partner and family. But unlike most films set in the devastated future, Mad Max is especially notable because it is poised between our industrialized world and total regression to medieval conditions. The scale tips towards disintegration when the Glory Riders burn into town on their bikes like an overamped cadre of Brando's Wild Ones. Representing the active chaos that will eventually overwhelm the dying vestiges of civil society, they take everything dear to Max, who will exact due revenge. His flight into the same wilds that created the villains artfully sets up the morally ambiguous character of the subsequent films. —Alan E. Rapp

Jack Finney's classic science fiction novel has been the basis of three big-screen adaptations, beginning with the 1956 chiller Invasion of the Body Snatchers and most recently as 1994's underrated Body Snatchers. This acclaimed 1978 version from director Philip Kaufman (The Right Stuff) is every bit as creepy as the '56 original, and it fits perfectly into the cycle of paranoid thrillers that thrived in American movies of the 1970s. Kaufman stylishly directs from an intelligent screenplay by W.D. Richter, while Donald Sutherland and Brooke Adams lead a distinguished cast (including Jeff Goldblum, Leonard Nimoy, and Veronica Cartwright) and must fight for survival as the population of San Francisco is systematically cloned by alien "pods" from a distant, dying planet. The atmosphere of dread and paranoia grows increasingly intense as the complexity of the alien invasion is gradually revealed, until nobody can be trusted to be who they appear. Finely tuned performances enhance the film's eerie atmosphere, highlighted by moments that will lurk in your memory long after the movie's over. MGM's DVD release includes a full-length audio commentary by Kaufman, a "pod culture" retrospective, Body Snatchers trivia, production notes, and the original theatrical trailer. —Jeff Shannon