Miscarriage of Justice

The Last Castle

The Last Castle rides high on a wave of American patriotism, respectful of military service and protocol, and primed to ignite anyone's passion for justice against corrupted ideals. This intense prison drama begins when a court-martialed three-star general (Robert Redford) is sentenced to military prison for defying a presidential command. The prison's warden (James Gandolfini) is a jealous martinet who's never seen combat, and when the jailed general seizes command of the prison to protest the warden's abuse of power, The Last Castle erupts toward a classic showdown between integrity and cowardice. Former critic and West Point graduate Rod Lurie (The Contender) directs this intimate battle with manipulative skill, appealing more to emotions than intelligence, but his stellar cast keeps the action on track, and a potent script returns flag-waving to its rightful place of honor. --Jeff Shannon

Double Jeopardy

Young Libby Parsons (Ashley Judd) is happy as a clam, and why not? She's got a loving, successful husband (Bruce Greenwood), an adorable son, and an island home to die for. One morning, after a romantic sailing expedition with her husband, Libby finds herself covered in blood. Her husband's missing, the boat resembles a murder scene, and there's a knife on the deck. One might stop right there and call for help; Libby, however, takes matters--or, more specifically, the knife--into her own hands, and the moment she does, there's the Coast Guard. Faster than you can say frame-up, Libby's been charged with murder and jailed, with her young son stripped from her custody. It's all cut-and-dried, except for one thing: Libby's husband isn't dead, and she's about to track him down. And thanks to the Fifth Amendment's double jeopardy rule, she can't be charged twice for his murder.

Double Jeopardy has a singularly seductive revenge premise and, in Judd, one of the most seductive leading ladies to grace the silver screen in recent years. So then why does this thriller feel like it came from the bottom of the Lifetime television movie barrel? Instead of taking a gritty, hard-boiled approach, the film plays up all of Libby's mushy emotions--tellingly, the director here is Bruce Beresford, whose best film, Driving Miss Daisy, is as far from thriller territory as you can get. No matter how stoically or deviously Judd plays her, Libby comes across as a soccer mom with a slight taste for blood. Only in a few scenes, specifically when she tracks her wily husband to his new identity in New Orleans, does Judd get to strut her stuff, stealing an evening gown and crashing his charity auction. Most of the time, though, this thriller offers only a smattering of suspense. Well, at least like Libby, the filmmakers can't be condemned twice for the same crime. With Tommy Lee Jones duplicating his Fugitive role, as Libby's conscientious parole officer. --Mark Englehart

Wild Things (Unrated Edition)

Wild Things is the kind of lurid, trashy thriller that you'll either dive into with unabashed pleasure or turn away from in prudish disgust; it's entirely your choice, but we suggest the former option since it's obviously much more fun. The plot's so convoluted it's hardly worth describing, except to say that it's set in humid Florida and involves a respected high school teacher (Matt Dillon--yes, Matt Dillon as a teacher!) who is faced with accusations of rape by a student (Denise Richards, from Starship Troopers) who had been giving him the kind of attention most people would consider improper for such a "nice" young lady. Another student (Neve Campbell) raises a similar charge against the teacher, and that's when a police officer (Kevin Bacon) begins to investigate the allegations. Just when you think the movie's gone overboard with its shameless sex and absurdly twisted plot, in drops Bill Murray as an unscrupulous lawyer (of course) to spice things up with insurance scams and welcomed comic relief. As directed by John McNaughton (who has a way of making just the right moves with this kind of film noir melodrama), Wild Things is a bona fide guilty pleasure--the kind of movie you may be ashamed to enjoy, but what the heck, you'll enjoy it anyway. --Jeff Shannon

No Way Out

This implausible, but effective 1987 film stars Kevin Costner (Bull Durham, Wyatt Earp) as a naval officer and CIA agent who may not be what he seems. This sexy thriller is an espionage mystery and an enigmatic character study of two men trying to be faithful to the loyalties they hold. Costner begins a torrid love affair with the mistress (Sean Young) of the Secretary of Defense, but when she turns up dead, Costner is implicated in a web of intrigue that threatens national security and exposes personal secrets at the highest levels. The Secretary and his men try to cover up the affair while simultaneously searching for a Soviet mole in their ranks. Featuring an exciting chase sequence through the Washington, D.C., subways, No Way Out is a standard issue thriller that nonetheless keeps the action coming. --Robert Lane

Imagine being a hunter leading highly trained bloodhounds in pursuit of a killer...and the trail leads directly to you! Starring Academy-AwardÂ(r) winners Kevin Costner* and Gene Hackman,** No Way Out is "a mesmerizing look at Washington power" (The Hollywood Reporter).Capturing a well-deserved four stars from critic Roger Ebert, this "taut [and] stylish" (Newsweek) thriller is fast-paced and powerful"a perfect nailbiter" (Variety)! In a fit of rage, Secretary of Defense David Brice (Hackman) murders his mistress. To keep a lid on the scandal, Brice's loyal aide (Will Patton) creates the perfect cover-up: he "invents" a more enticing killera Russian spyand then enlists naval commander Tom Farrell (Costner) to find him. But as achilling twist of fate would have it, Farrell also has a strong connection to the victim and now all the clues he's been hired to uncover are leading straight to him! In a desperate race against time, Farrell's search for the killer is not only a matter of national security, but also a matter of saving his own hide. *1990: Director and Picture, Dances with Wolves **1971:Actor, The French Connection; 1992: Supporting Actor, Unforgiven

Nick of Time

The clock is ticking for Johnny Depp in Nick of Time, a twist-filled, race-against-time thriller directed by John Badham (Drop Zone, Saturday Night Fever). And indeed it is a race, filmed in "real time" so that onscreen events unfold minute by nail-biting minute as they would in real life. No sooner does accountant Gene Watson (Depp) arrive at L.A.'s Union station with his six-year-old daughter than he's plunged into a nightmare. Two shadowy strangers (Christopher Walken, Roma Maffia) separate Watson from his little girl, slap a gun into his hand and present a devil's bargain: kill a top government official before she leaves a nearby political rally... or never again see his beloved child.

The Net

The Net, the first of Hollywood's big cyberthrillers of the mid-1990s, was also the most successful, thanks in large part to the natural appeal of star Sandra Bullock. Still riding high from Speed and While You Were Sleeping, Bullock plays a computer expert victimized by sinister cyberforces who steal her identity for reasons unknown. It's a clever combination of high-tech paranoia and Hitchcockian references (including Jeremy Northam as a romantic stranger named Devlin, after Cary Grant in Notorious). Film historians may look back someday on films like this--Roger Ebert calls them "hacksploitation"--to see what they reveal about our society's reaction to the increasing role of technology in our lives, just as we now study the fears of Communism and the atom bomb reflected in films of the 1950s. Dennis Miller and Diane Baker costar. --Jim Emerson

I Wake Up Screaming (Fox Film Noir)

A great surprise ending marks this film noir classic, filled with taut suspense. Starring Betty Grable in a change-of-pace role.

Batman - Mask of the Phantasm (Keepcase)

Unmasking the Phantasm is just one of the twists in Batman: Mask of Phantasm "one of the most imaginative films of the past year" (Chuck Rich Westwood One). Only here will you discover all-new revelations about Batman's past his archrival the Joker and the most grueling battle of Batman's life - the choice between his love of a beautiful woman and his vow to be the defender of right. Batman: Mask of Phantasm is a "mystery that is genuinely absorbing suspenseful and moving" (Cincinnati Enquirer) and a film no fan should be without! Can the Dark Knight elude the police capture the Phantasm and clear his name? Year: 1993 Director: Eric Radomski Starring: Kevin Conroy Mark Hamill Dana Delany Hart Bochner Abe VigodaRunning Time: 76 min.Format: DVD MOVIE Genre: CHILDREN/FAMILY UPC: 012569717275

Although the live-action Batman franchise faltered artistically after Tim Burton gave up control, the slack was taken up by the Saturday morning cartoon show, whose creators are responsible for this feature film. Though a cartoon, Batman: Mask of the Phantasm is less cartoonish than the popular '60s TV show (which spawned its own movie, Batman: The Movie). Mask of the Phantasm combines the noir of the original comic book, the violence and dark humor of the Dark Knight comic book revision, and Burton's two movies.

In Batman: Mask of the Phantasm, everyone's favorite schizophrenic billionaire crime fighter is investigating the murders of several prominent gangsters. Meanwhile, his ex-fiancée and her father are back in town. Through flashbacks, these two death-obsessed kids are shown falling in love (she lost her mother; he lost both parents--of course, they meet in a graveyard), until she leaves quickly and mysteriously. Along the way, there's a short course in the origins of the Batman costume and the origins of the Joker (voice of Star Wars' Mark Hamill!), a big fight with the smoke-enshrouded Phantasm character, who is suspected of killing the gangsters, and an even bigger fight with the Joker at the abandoned Gotham World's Fair grounds. Altogether, a good ride. --Andy Spletzer

Where the Sidewalk Ends (Fox Film Noir)

Otto Preminger made four films noirs at Fox, all terrific. If we set aside the peerless Laura as more psychological mystery-romance than noir, there's plenty of evidence for judging Where the Sidewalk Ends the best of the lot (the other two being Fallen Angel, a study in small-town perversity, and Whirlpool, a delicious exercise in creepy psychology, slippery mise-en-scène, and daringly complicated point-of-view). It's a hard-edged tale of a borderline-vicious New York police detective, Mark Dixon (Dana Andrews), with tortuous personal reasons for overzealousness in going after the bad guys. Much of the film unreels in one night, when the murder of a high-roller from out of town precipitates a string of events that lead to Dixon's becoming an accidental killer. Preminger's direction is taut, forceful, and fluid, especially when Dixon sets about creating an alibi for himself. Unfortunately, an innocent man gets implicated, with Dixon looking on, and the guilty cop's moral and psychological torment increases with each turn of the screw.

Tightly scripted by Ben Hecht, Preminger's film lacks the anguished poetry of Nicholas Ray's On Dangerous Ground, another 1950 noir centered on a cop (Robert Ryan) addicted to ultraviolence, but its grip is relentless. Preminger had a shrewd instinct for tapping a certain thuggish strain in Andrews, whose performance here is arguably his best. They're reunited with Gene Tierney, as a woman caught in the sidewash of sordid goings-on, and Laura cameraman Joseph La Shelle, whose work has a luster beyond the accustomed semidocumentary look of Fox noirs. Gary Merrill, usually a bland nice-guy, relishes the chance to play nasty as Dixon's gangland bête noire Tommy Scalise, a homoerotic villain in the Tommy Udo vein with a menthol inhaler as fetish object. --Richard T. Jameson

The Moonstone

One of the best mystery tales of all time, The Moonstone, based on Wilkie Collins' 1868 novel, is the story of a stolen Hindu diamond that makes its way into the care of Franklin Blake (Greg Wise of Sense and Sensibility). Acting as executor of the estate of the late Colonel John Herncastle (Terrence Hardiman), Franklin is obliged to deliver the diamond, called the Moonstone, to Herncastle's niece, Rachel Verinder (Keeley Hawes of Tipping the Velvet). The two fall in love, but after the disappearance of the Moonstone, Rachel refuses to speak to Franklin or anyone else, and rebuffs an investigation by a renowned detective (Antony Sher), who suspects Rachel herself is involved with the apparent theft. The long trail to the truth is endlessly surprising, requiring the participation of a number of fascinating characters who each contribute something to the solution. A handsome production directed by Robert Bierman (Vampire's Kiss), The Moonstone is most entertaining whenever Sher is on screen, humming incessantly, prattling on about roses, and sharing scenes with such estimable supporting players as Patricia Hodge (Betrayal) and Peter Vaughan (The Remains of the Day). --Tom Keogh

Greg Wise (Sense and Sensibility) and Keeley Hawes (Karaoke) star in this sumptuous adaptation of Wilkie Collins' classic mystery, the first detective novel ever written.

The Moonstone, a sacred Hindu diamond was stolen from the head of the Moon God, in its shrine by John Herncastle in 1799. The stone is said to be cursed if it is removed from the shrine.

In 1846, Herncastle visits his ister to wish his niece, Rachel, a happy birthday. His sister refuses to see him, and he vows that he will always remember his niece's birthday- a vow which later takes on sinister undertones.

Two years later, just before Rachel's birthday, a man named Franklin Blake announces to Rachel that the Moonstone has been bequeathed to her by Herncastle. Blake gives her the jewel on her birthday and offers to mount the jewel for her, in order that she might wear it. Inevitably, the jewel is found missing the next morning and Rachel believes Blake stole it. Determined to prove his innocence, Blake leaves in order to pursue the real truth behind the theft.