Kidnapping & Missing Persons

Bonnie and Clyde

One of the landmark films of the 1960s, Bonnie and Clyde changed the course of American cinema. Setting a milestone for screen violence that paved the way for Sam Peckinpah's The Wild Bunch, this exercise in mythologized biography should not be labeled as a bloodbath; as critic Pauline Kael wrote in her rave review, "it's the absence of sadism that throws the audience off balance." The film is more of a poetic ode to the Great Depression, starring the dream team of Warren Beatty and Faye Dunaway as the titular antiheroes, who barrel across the South and Midwest robbing banks with Clyde's brother Buck (Gene Hackman), Buck's frantic wife Blanche (Estelle Parsons), and their faithful accomplice C.W. Moss (the inimitable Michael J. Pollard). Bonnie and Clyde is an unforgettable classic that has lost none of its power since the 1967 release. --Jeff Shannon

Stand By Me (Special Edition)

A sleeper hit when released in 1986, Stand by Me is based on Stephen King's novella "The Body" (from the book Different Seasons); but it's more about the joys and pains of boyhood friendship than a morbid fascination with corpses. It's about four boys ages 12 and 13 (Wil Wheaton, River Phoenix, Corey Feldman, Jerry O'Connell) who take an overnight hike through the woods near their Oregon town to find the body of a boy who's been missing for days. Their journey includes a variety of scary adventures (including a ferocious junkyard dog, a swamp full of leeches, and a treacherous leap from a train trestle), but it's also a time for personal revelations, quiet interludes, and the raucous comradeship of best friends. Set in the 1950s, the movie indulges an overabundance of anachronistic profanity and a kind of idealistic, golden-toned nostalgia (it's told in flashback as a story written by Wheaton's character as an adult, played by Richard Dreyfuss). But it's delightfully entertaining from start to finish, thanks to the rapport among its young cast members and the timeless, universal themes of friendship, family, and the building of character and self-esteem. Kiefer Sutherland makes a memorable teenage villain, and look closely for John Cusack in a flashback scene as Wheaton's now-deceased and dearly missed brother. A genuine crowd-pleaser, this heartfelt movie led director Rob Reiner to even greater success with his next film, The Princess Bride. --Jeff Shannon

Kiss the Girls

Coming after The Silence of the Lambs and Seven, this thriller about a collaboration between two serial killers feels like a pale attempt to cash in on the success of those earlier, better films. That's a pity, because this film certainly has its strengths--particularly in the central performances of Morgan Freeman as a forensic detective and Ashley Judd as a would-be victim who escaped from one of the killers. Director Gary Fleder demonstrates visual flair and maintains an involving undercurrent of tension, but as this adaptation of James Patterson's novel approaches its climax, familiar elements combine to form a chronic case of thriller déjà vu. It's altogether competent filmmaking in the service of a moribund story of competing psychopaths, and by the time the serial killers reach the home stretch of their twisted contest, the movie's dangerously close to Freddy Kruger territory, with a finale that could've been borrowed from any dozen similar thrillers. --Jeff Shannon

Hard Eight (Special Edition)

Before hitting the big time with his second film Boogie Nights, young filmmaker Paul Thomas Anderson impressed critics with this deftly conceived, low-budget film noir chamber piece. With its minimalist plot, deliberate pacing, and brief, but shocking bursts of violence, Hard Eight won't please everyone, but Anderson and his first-rate cast were clearly working on the same authentic wavelength. It's a mystery at first why a solemn professional gambler (Philip Baker Hall in a captivating performance) cares for a down-and-out loser (John C. Reilly) and a dimwit, Reno cocktail waitress (Gwyneth Paltrow). But his motivations become clear--and the movie packs a quietly effective punch--when the gambler faces blackmail by a small-time crook (Samuel L. Jackson). This unheralded film seemed like a closely kept secret itself, until it showed up on the 1997 top-10 lists of several prominent critics. In tandem with Boogie Nights, it marked the arrival of a new filmmaker whose talent is as impressive as that of that other '90s hotshot, Quentin Tarantino. --Jeff Shannon

Breakdown

Tautly directed and superbly photographed, this crowd-pleasing thriller from 1997 is indebted to Steven Spielberg's Duel, but more closely resembles Dead Calm in its strengths and weaknesses. Kurt Russell plays a stressed-out husband whose wife (Kathleen Quinlan) disappears after their car breaks down in the desert. Tracking her whereabouts leads to an interstate theft and kidnapping ring, and as Russell pursues--and is pursued by--a vicious redneck played to perfection by J.T. Walsh (in one of his final film roles), the movie succumbs to several tense, but utterly conventional action sequences. That doesn't stop the movie from being an above-average nail-biter. It is so effectively directed by co-writer Jonathan Mostow that even the more surreal situations seem plausible and altogether unsettling. Russell's performance is key to the film's success--he's smart enough to be admirable, and we can readily identify with his frustration, confusion, and torment. Through him, Breakdown takes on the edgy quality of a wide-awake nightmare. --Jeff Shannon

Jeff and Amy are driving to a new life in California when their car's engine dies. Amy accepts a ride from a helpful trucker while Jeff waits in the car and when she doesn't return Jeff begins a frantic search to find her.
Genre: Feature Film-Action/Adventure
Rating: R
Release Date: 7-JAN-2003
Media Type: DVD

Boxing Helena

The movie Boxing Helena is probably better known for the court case that sprang from it than for itself. Kim Basinger was famously sued for violating her oral agreement to play the lead role; the jury ruled against her to the tune of almost $9 million. Those who felt the ruling was unjust have no better evidence than the movie itself--who in their right mind would agree to play a woman whose obsessively jealous lover cuts off her arms and legs to control her? Boxing Helena wants to be a penetrating investigation into the dark side of erotic desire. It doesn't succeed. But it does achieve the dubious but delightful status of being an entertaining disaster. Glory in Sherilyn Fenn's amazingly sincere attempt to take the script seriously! Thrill to the completely gratuitous sex scene between Julian Sands and a woman who doesn't appear at any other moment in the movie! Gaze, jaw agape, at the ridiculous ending! The movie features a wonderfully overwrought performance from Bill Paxton (A Simple Plan, Twister) and what is to date the last film appearance of Art Garfunkel. While Boxing Helena doesn't have the relentless ridiculousness of something like The Lonely Lady (with Pia Zadora!) or Showgirls, it has a giddiness that builds as it gets more and more improbable. Bad-movie fans will find it a delectable treat. --Bret Fetzer

Fantasy, desire and manipulation make for a savory-yet-volatile cocktail in this psychological thriller about a woman held captive by a man who loves her. First-time writer-director Jennifer ChambersLynch (The Diary of Laura Palmer) brings "stylistic flair" (The Washington Post) to this haunting, erotic tale of love and lust that straddles the fine line between devotion and obsession. Nick Cavanaugh (Julian Sands, Timecode) is a brilliant surgeon who seems to haveit allmoney, looks, prestigebut all he wants is someone he can't have a voluptuous, cold-hearted seductress: Helena (Sherilyn Fenn, Three of Hearts). After Nick fails to impress her withhis wealth, Helena is struck down by a hit-and-run driver outside his mansion. The good doctor saves her life by amputating her legs, then seizes the opportunity of her immobility to hold her prisoner. Now, he's in control of Helena's body, but not her mind, for this shrewd, quick-thinking vixen ishellbent on keeping Nick on his toes in order to foil his selfish plan to have her not only as a trophy wife but his personal Venus de Milo.

Switchback

This film has the feel of a script that's been resurrected by a writer given the chance to direct his own movie. So it was with writer Jeb Stuart (Die Hard) and this film, his directing debut. The plotting is creaky and predictable in this story of an FBI agent (Quaid) relentlessly pursuing a serial killer (Glover) who, in an effort to intimidate the lawman, kidnaps the agent's child. The action set-pieces show up like clockwork, as this rogue cop battles his own agency in an effort to find his child. Quaid is grim and lifeless, so the film's only sparks are given off by Glover, in a wonderfully shaded performance that keeps you guessing whether he is, in fact, the bad guy after all. --Marshall Fine

Frantic

Living in exile in Paris after eluding a controversial charge of statutory rape in America, director Roman Polanski seemed professionally adrift during the 1980s, making only one film (the ill-fated Pirates) between 1979 and 1988. Then Polanski found inspiration--and a major star in Harrison Ford--to make Frantic, a thriller that played directly into Polanski's gift for creating an atmosphere of mystery, dread, escalating suspense, and uncertain fate. Set in Paris (Polanski couldn't go to Hollywood, so Hollywood came to him), the story begins when an American heart surgeon (Ford) arrives in the City of Lights with his wife (Betty Buckley) for a medical convention. They check into a posh hotel, and in a brilliantly directed scene, Ford takes a shower and emerges to find that his wife has vanished. This mysterious disappearance--and a confusion between two identical pieces of luggage--leads Ford into the Paris underground and a plot that grows increasingly dangerous as he approaches the truth of his wife's disappearance. The plot gets too complicated, and the pace drops off in the cluttered second half, but in Polanski's capable hands the film is blessed with moments of heightened suspense in the tradition of classic thrillers. --Jeff Shannon

The Fan

Lurid thrillers don't get much more shameless than this movie, in which Robert De Niro plays a pathological baseball fan whose obsession is focused on a San Francisco Giants all-star outfielder (Wesley Snipes). While the newly signed baseball star is having trouble getting his favorite uniform number from a competitive teammate (Benicio Del Toro), De Niro is having career troubles at the knife company his father founded, and you can bet that his proximity to high-quality stainless-steel blades will be a factor in the suspenseful plot. Recycling parts of his maniacal roles in Taxi Driver, The King of Comedy, and Cape Fear, De Niro takes his idolatry to violent extremes, eliminating any obstacle to Snipes's stardom until the baseball hero is forced to confront his most terrifying devotee. Directed with brutal excess and souped-up style by Tony Scott (Top Gun, Crimson Tide), this manipulative nail-biter pulls all the right strings in predictable fashion, but it does have moments that are effectively intense. --Jeff Shannon

Three-times MVP baseball player Bobby Rayburn joins San Fransisco Giants, and obsessive fan, whose profession is selling hunting knives, Gil Renard is excited over that. But Rayburn plays the worst season of his career and Renard tries to do everything to help him, but goes too far.

Blue Velvet

David Lynch peeks behind the picket fences of small-town America to reveal a corrupt shadow world of malevolence, sadism, and madness. From the opening shots Lynch turns the Technicolor picture postcard images of middle class homes and tree-lined lanes into a dreamy vision on the edge of nightmare. After his father collapses in a preternaturally eerie sequence, college boy Kyle MacLachlan returns home and stumbles across a severed human ear in a vacant lot. With the help of sweetly innocent high school girl (Laura Dern), he turns junior detective and uncovers a frightening yet darkly compelling world of voyeurism and sex. Drawn deeper into the brutal world of drug dealer and blackmailer Frank, played with raving mania by an obscenity-shouting Dennis Hopper in a career-reviving performance, he loses his innocence and his moral bearings when confronted with pure, unexplainable evil. Isabella Rossellini is terrifyingly desperate as Hopper's sexual slave who becomes MacLachlan's illicit lover, and Dean Stockwell purrs through his role as Hopper's oh-so-suave buddy. Lynch strips his surreally mundane sets to a ghostly austerity, which composer Angelo Badalamenti encourages with the smooth, spooky strains of a lush score. Blue Velvet is a disturbing film that delves into the darkest reaches of psycho-sexual brutality and simply isn't for everyone. But for a viewer who wants to see the cinematic world rocked off its foundations, David Lynch delivers a nightmarish masterpiece. --Sean Axmaker