Director Paul Verhoeven and star Arnold Schwarzenegger have their own ideas about what's really going on in Total Recall, and offer an entertaining commentary track on Artisan's special limited edition. They make their case, to the glee of conspiracy buffs, by pointing out every clue and discussing every twist in perspective. The original documentary featurette "Imagining Total Recall" crams dozens of interviews into a tight, if brief, 30-minute program covering the entire production history, and "Visions of Mars" is a too-brief six-minute piece on the real red planet. Along with the galleries of storyboards and conceptual art and production stills are the complete "Rekall Virtual Vacation" clips glimpsed early in the film. The collector's metal "Mars" case is a fancy tobacco tin with a cratered surface, not particularly practical but a great display piece. —Sean Axmaker

Upon its 2000 release, this two-disc set could have been lauded as the most extensive DVD ever produced. Not that the vast materials presented here are new; many were released previously on DVD and laserdisc. The important additions are an impressive DTS and Dolby Digital 5.1 soundtrack along with a remastered picture. Along with two versions of the film, the numerous special effects are broken down in the impressive Supplemental Materials section. James Cameron's complete script and over 700 storyboards are included; they can be viewed separately or together in the DVD-ROM supplement. There's even the ultimate Easter egg: a third version of the film for those who dig deep enough. —Doug Thomas

This is the film that cemented Schwarzenegger's spot in the action-brawn firmament, and it was well deserved. He's chilling as the futuristic cyborg who kills without fear, without love, without mercy. James Cameron's story and direction are pared to the bone and all the more creepy. But don't overlook the contributions of Linda Hamilton, who more than holds her own as the Terminator's would-be victim, Sarah Connor—thus creating, along with Sigourney Weaver in Alien, a new generation of rugged, clear-thinking female action stars. It's surprising how well this film holds up, and how its minimalist, malevolent violence is actually way scarier than that of its far more expensive, more effects-laden sequel. —Anne Hurley

Filled out with about eight minutes of additional footage, this deluxe Superman almost doubles Marlon Brando's screen time with added scenes on Krypton and in the Fortress of Solitude and fills out the early life of Clark Kent, contributing to a more mythic portrait of America's greatest hero. There is also more disaster footage during the earthquake climax, and Lex Luthor's "Gauntlet of Death" sequence (seen on network TV broadcasts) is reinstated.

The commentary by director Richard Donner and "creative consultant" Tom Mankeiwicz lacks the focus and detail of a filmmaker really grappling with his work (it has been almost 25 years, after all), but it's full of interesting asides, casting trivia (Goldie Hawn as Miss Teschmacher?), and the good-humored byplay of two old friends.

The three documentary featurettes hosted by Marc McClure (Jimmy Olsen) are essentially chapters of a comprehensive behind-the-scenes study, full of illuminating interviews (Donner and Mankeiwicz are more revealing here), special-effects tests (including all the failed attempts to make you believe a man can fly), and the bizarre true story of the unceremonious firing of Richard Donner after he had turned Superman into a worldwide smash and shot about 70 percent of the sequel.

A separate supplement features screen tests for Christopher Reeve and five different Lois Lanes (including a giggly Leslie Ann Warren and a snappy Stockard Channing), and two legendary, delightfully demented scenes featuring Lex Luthor's snarling "babies" (also seen on TV broadcasts) are featured in the gallery of Deleted Scenes. —Sean Axmaker

Before they unleashed the idiotic mayhem of Independence Day and Godzilla, the idea-stealing team of director Roland Emmerich and producer-screenwriter Dean Devlin concocted this hokey hit about the discovery of an ancient portal capable of zipping travelers to "the other side of the known universe." James Spader plays the Egyptologist who successfully translates the Stargate's hieroglyphic code, and then joins a hawkish military unit (led by Kurt Russell) on a reconnaissance mission to see what's on the other side. They arrive on a desert world with cultural (and apparently supernatural) ties to Earth's ancient Egypt, where the sun god Ra (played by Jaye Davidson from The Crying Game) rules a population of slaves with armored minions and startlingly advanced technology. After being warmly welcomed into the slave camp, the earthlings encourage and support a rebellion, and while Russell threatens to blow up the Stargate to prevent its use by enemy forces, the movie collapses into a senseless series of action scenes and grandiose explosions. It's all pretty ridiculous, but Stargate found a large and appreciative audience, spawned a cable-TV series, and continues to attract science fiction fans who are more than willing to forgive its considerable faults. —Jeff Shannon

For devoted fans and nonfans alike, Spider-Man offers nothing less—and nothing more—than what you'd expect from a superhero blockbuster. Having proven his comic-book savvy with the original Darkman, director Sam Raimi brings ample energy and enthusiasm to Spidey's origin story, nicely establishing high-school nebbish Peter Parker (Tobey Maguire) as a brainy outcast who reacts with appropriate euphoria—and well-tempered maturity—when a "super-spider" bite transforms him into the amazingly agile, web-shooting Spider-Man. That's all well and good, and so is Kirsten Dunst as Parker's girl-next-door sweetheart. Where Spider-Man falls short is in its hyperactive CGI action sequences, which play like a video game instead of the gravity-defying exploits of a flesh-and-blood superhero. Willem Dafoe is perfectly cast as Spidey's schizoid nemesis, the Green Goblin, and the movie's a lot of fun overall. It's no match for Superman and Batman in bringing a beloved character to the screen, but it places a respectable third. —Jeff Shannon

"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