This third installment in the Marvel mutant superhero series needs its new characters more than the previous films did because it fails to develop the ones it has inherited. New director Brett Ratner (Rush Hour) hamhandedly trots the fresh faces out as if they were performing tricks at a dog show, but the better actors,

As a gruff riverboat captain leading an ill-fated expedition in the jungles of Borneo, bit actor Johnny Messner tries to channel the campy lunacy of Jon Voight from the original Anaconda. His voice is so low and gritty that it sounds dubbed, he flexes his muscles when he shakes hands and he even wrestles a

Steven Spielberg’s thrilling Minority Report – about a “precrime” law-enforcement officer (Tom Cruise) framed for a future murder – is worth seeing for its vision of the future alone, in which the Gap is manned by hologram salespeople who can instantaneously access your purchase history by scanning your eyeballs. At a time when we debated

Robert Rodriguez’s Sin City turns Frank Miller’s extremely graphic graphic novels into a grisly, galvanizing update of film noir fatalism. What happens in Sin City – encompassed in three intertwining stories populated by shady cops, cruel murderers and vengeful hookers – feels like what might have been going on in those 1940s and ’50s crime

The first true comic-book movie, even though it is based on an original story, this wildly inventive adventure from novice writer-director Kerry Conran captures the way that adolescent art form looks and, especially, feels. The actors – including Jude Law as a pilot battling giant robots circa 1939 and Gwyneth Paltrow as a plucky reporter