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The Patriot
Aimed directly at a mainstream audience, The Patriot qualifies as respectable entertainment, but anyone expecting a definitive drama about the American Revolution should look elsewhere. Rising above the blatant crowd pleasing of Stargate, Independence Day, and Godzilla, director Roland Emmerich crafts a marvelous re-creation of South Carolina in the late 1770s (aided immeasurably by cinematographer Caleb Deschanel), and Robert Rodat's screenplay offers the same balance of epic scale and emotional urgency that elevated his earlier script for Saving Private Ryan. Unfortunately, Emmerich embraces clichés and hackneyed melodrama that a more gifted director would have avoided. Instead of attempting a truly great film about the most pivotal years of American history, Emmerich settles for a standard revenge plot with the Revolutionary War as an incidental backdrop.On those terms, the film is engrossing and sufficiently intelligent, especially when militia leader Benjamin Martin (Mel Gibson) cagily negotiates with British General Cornwallis (Tom Wilkinson) in one of the most rewarding scenes. For the most part, the story concerns Martin's anguished quest for revenge against ruthless redcoat Colonel Tavington (played with snide relish by Jason Isaacs), and the rise to manhood of Martin's eldest son, Gabriel (Heath Ledger), whose battlefield honor exceeds even that of his brutally volatile father. At its best, The Patriot conveys the horror of war among innocent civilians, and the epic battle scenes, while by no means masterful, are graphically intense and impressive. And although Ledger's love interest (Lisa Brenner) is too bland to register much emotion, the focus on family (which frequently relegates the war to background history) provides a suitable vehicle for Gibson, who matches his achievement in Braveheart with an effectively brooding performance. --Jeff Shannon

A Knight's Tale
There's no rule against rock anthems from the 1970s in the soundtrack for a movie about a medieval jousting champion, but if you're going to attempt such jarring anachronisms, you'd better establish acceptable ground rules. Writer-director Brian Helgeland does precisely that in A Knight's Tale and pulls off this trick with such giddy aplomb that you can't help but play along. (Upon witnessing a crowd of peasants at a jousting match, singing and clapping to the beat of Queen's "We Will Rock You," you're either going to love this movie or dismiss it altogether.) Other vintage rock hits will follow, but Helgeland--the Oscar®-winning cowriter of L.A. Confidential--handles this ploy with judicious goodwill, in what is an otherwise honest period piece about a peasant named William (Heath Ledger) who rises by grit and determination to the hallowed status of knighthood.As if the soundtrack weren't audacious enough, Helgeland (recovering from the sour experience of his directorial debut, Payback) casts none other than Geoffrey Chaucer (wonderfully played by Paul Bettany) as William's cohort and match announcer, along with William's pals Roland (Mark Addy) and Wat (Alan Tudyk), and feisty blacksmith Kate (Laura Fraser). Of course there must be a fair maiden, and she is Jocelyn (newcomer Shannyn Sossamon), with whom William falls in love while battling the nefarious Count Adhemar (Rufus Sewell) on the European jousting circuit. Add to this an inspiring father-son reunion, Ledger's undeniable charisma, a perfect supporting cast, and enough joyful energy to rejuvenate the film's formulaic plot, and A Knight's Tale becomes that most pleasant of movie surprises--an unlikely winner that rises up, like its hero, to exceed all expectations. --Jeff Shannon

Das Boot
This is the restored, 209-minute director's cut of Wolfgang Petersen's harrowing and claustrophobic U-boat thriller, which was theatrically rereleased in 1997. Originally made as a six-hour miniseries, this version devotes more time to getting to know the crew before they and their stoic captain (Jürgen Prochnow) get aboard their U-boat and find themselves stranded at the bottom of the sea. Das Boot puts you inside that submerged vessel and explores the physical and emotional tensions of the situation with a vivid, terrifying realism that few movies can match. As Petersen tightens the screws and the submerged ship blows bolts, the pressure builds to such unbearable levels that you may be tempted to escape for a nice walk on solid land in the great outdoors--only you wouldn't dream of looking away from the screen. --Jim Emerson ... Read more

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Snatch
Usually it might seem a tad unfair to begin a review by referring to the director's missis. But then the missis in question wouldn't usually be Madonna--a woman whose ability to reinvent herself several times before breakfast seems in marked contrast to that of hubby Guy Ritchie. Certainly, this follow-up to the filmmaker's breakthrough film--the high-energy, expletive-strewn cockney-gangster movie Lock, Stock and Two Smoking Barrels--hardly breaks new ground being, well, another high-energy, expletive-strewn cockney-gangster movie. OK, so there are some differences. This time around our low-rent hoodlums are battling over dodgy fights and stolen diamonds rather than dodgy card games and stolen drugs. There has been some minor reshuffling of the cast too, with Sting and Dexter Fletcher making way for the more bankable Benicio Del Toro and Brad Pitt, the latter pretty much stealing the whole shebang as an incomprehensible Irish gypsy. And, sure, people who really, really liked Lock, Stock--or have the memory of a goldfish--will really, really like this. The suspicion lingers, however, that if the director doesn't do something very different next time around then his career may prove to be considerably shorter than that of his missis. --Clark Collis

Memento
Guy Pearce (L.A. Confidential) and Joe Pantoliano (The Matrix) shine in this absolute stunner of a movie. Memento combines a bold, mind-bending script with compelling action and virtuoso performances. Pearce plays Leonard Shelby, hunting down the man who raped and murdered his wife. The problem is that "the incident" that robbed Leonard of his wife also stole his ability to make new memories. Unable to retain a location, a face, or a new clue on his own, Leonard continues his search with the help of notes, Polaroids, and even homemade tattoos for vital information.Because of his condition, Leonard essentially lives his life in short, present-tense segments, with no clear idea of what's just happened to him. That's where Memento gets really interesting; the story begins at the end, and the movie jumps backward in 10-minute segments. The suspense of the movie lies not in discovering what happens, but in finding out why it happened. Amazingly, the movie achieves edge-of-your-seat excitement even as it moves backward in time, and it keeps the mind hopping as cause and effect are pieced together.Pearce captures Leonard perfectly, conveying both the tragic romance of his quest and his wry humor in dealing with his condition. He is bolstered by several excellent supporting players, and the movie is all but stolen from him by Pantoliano, who delivers an amazing performance as Teddy, the guy who may or may not be on his side. Memento has an intriguing structure and even meditations on the nature of perception and meaning of life if you go looking for them, but it also functions just as well as a completely absorbing thriller. It's rare to find a movie this exciting with so much intelligence behind it. --Ali Davis

Dogma
Kevin Smith is a conundrum of a filmmaker: he's a writer with brilliant, clever ideas who can't set up a simple shot to save his life. It was fine back when Smith was making low-budget films like Clerks and Chasing Amy, both of which had an amiable, grungy feel to them, but now that he's a rising director who's attracting top talent and tackling bigger themes, it might behoove him to polish his filmmaking. That's the main problem with Dogma--it's an ambitious, funny, aggressively intelligent film about modern-day religion, but while Smith's writing has matured significantly (anyone who thinks he's not topnotch should take a look at Chasing Amy), his direction hasn't. It's too bad, because Dogma is ripe for near-classic status in its theological satire, which is hardly as blasphemous as the protests that greeted the movie would lead you to believe.Two banished angels (Ben Affleck and Matt Damon) have discovered a loophole that would allow them back into heaven; problem is, they'd destroy civilization in the process by proving God fallible. It's up to Bethany (Linda Fiorentino), a lapsed Catholic who works in an abortion clinic, to save the day, with some help from two so-called prophets (Smith and Jason Mewes, as their perennial characters Jay and Silent Bob), the heretofore unknown 13th apostle (Chris Rock), and a sexy, heavenly muse (the sublime Salma Hayek, who almost single-handedly steals the film). In some ways Dogma is a shaggy dog of a road movie--which hits a comic peak when Affleck and Fiorentino banter drunkenly on a train to New Jersey, not realizing they're mortal enemies--and segues into a comedy-action flick as the vengeful angels (who have a taste for blood) try to make their way into heaven. Smith's cast is exceptional--with Fiorentino lending a sardonic gravity to the proceedings, and Jason Lee smirking evilly as the horned devil Azrael--and the film shuffles good-naturedly to its climax (featuring Alanis Morissette as a beatifically silent God), but it just looks so unrelentingly... subpar. Credit Smith with being a daring writer but a less-than-stellar director. --Mark Englehart

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The Professional
Luc Besson (The Fifth Element) made his American directorial debut with this stylized thriller about a French hit man (Jean Reno) who takes in an American girl (Natalie Portman) being pursued by a corrupt killer cop (Gary Oldman). Oldman is a little more unhinged than he should be, but there is something genuinely irresistible about the story line and the relationship between Reno and Portman. Rather than cave in to the cookie-cutter look and feel of American action pictures, Besson brings a bit of his glossy style from French hits La Femme Nikita and Subway to the production, and the results are refreshing even if the bullets and explosions are awfully familiar. --Tom Keogh

The Fifth Element
Ancient curses, all-powerful monsters, shape-changing assassins, scantily-clad stewardesses, laser battles, huge explosions, a perfect woman, a malcontent hero--what more can you ask of a big-budget science fiction movie? Luc Besson's high-octane film incorporates presidents, rock stars, and cab drivers into its peculiar plot, traversing worlds and encountering some pretty wild aliens. Bruce Willis stars as a down-and-out cabbie who must win the love of Leeloo (Milla Jovovich) to save Earth from destruction by Jean-Baptiste Emmanuel Zorg (Gary Oldman) and a dark, unearthly force that makes Darth Vader look like an Ewok. --Geoff Riley

The Big Blue
A hit in Europe but a flop in the U.S.--where it was trimmed, rescored, and given a new ending--Luc Besson's The Big Blue has endured as a minor cult classic for its gorgeous photography (both on land and underwater) and dreamy ambiance. Jean-Marc Barr is a sweet and sensitive but passive presence as Jacques, a diver with a unique connection to the sea. He has the astounding ability to slow his heartbeat and his circulation on deep dives, "a phenomenon that's only been observed in whales and dolphins… until now," remarks one scientist. Kooky New York insurance adjuster Joanna (Rosanna Arquette at her most delightfully flustered and endearingly sexy best) melts after falling into his innocent baby blues, and she follows him to Italy, where he's continuing a lifelong competition with boyhood rival Enzo (Jean Reno in a performance both comic and touching).Besson's first English-language production looks more European than Hollywood, and it suffers from a tin ear for the language. At times it feels more like an IMAX undersea documentary than a drama about free divers, but the lush and lovely images create a fairy tale dimension to Jacques's story, a veritable Little Merman. More dolphin than man, he's so torn between earthly love and aquatic paradise that even his dreams call him to the sea (in a sequence more eloquent than any speech).Besson has expanded the film by 50 minutes for his director's cut, which adds little story but slows the contemplative pace until it practically floats in time, and has restored Eric Serra's synthesizer-heavy score, a slice of 1980s pop that at times borders on disco kitsch. Most importantly, he has restored his original ending, which echoes the fairy tale he tells Joanna earlier in the film and leaves the story floating in the inky blackness of ambiguity. --Sean Axmaker

Subway
This dark and highly stylized French import directed by Luc Besson (The Fifth Element, The Professional) concerns an enigmatic safecracker played by Christopher Lambert (Highlander) hiding out in the Paris Metro system from a gangster. While living in the underground and eluding both gangsters and Metro police he meets up with a group of colorful and quirky subterranean inhabitants eager to help him and start a rock band. All the while the safecracker blackmails a rich woman (Isabelle Adjani) with whom he is in love. Meant to be a tongue-in-cheek commentary on urban life, the film works better as a light freewheeling entertainment, with well-constructed fast-paced action sequences and a breezy sense of humor about itself. Subway is an intriguing diversion and a chance to see the cutting edge of modern French moviemaking. --Robert Lane

The Messenger: The Story of Joan of Arc
1999 may be remembered as the year of Joan of Arc: NBC created a miniseries in her honor, Carl Dreyer's long-lost The Passion of Joan of Arc was discovered in a mental hospital, and Facets re-released Jacques Rivette's Joan the Maid. Luc Besson rounds out the corpus with his stylistic and vaguely heretical grand-scale feature, The Messenger: The Story of Joan of Arc.Besson (La Femme Nikita, The Fifth Element) challenges established notions about the Maid of Orleans as he creates a decidedly more human heroine than have previous biopics. The story line is the same--a young, illiterate peasant girl convinces the dauphin of France to give her an army, and she leads them to victory in Orleans, only to be burned at the stake for heresy--but Milla Jovovich, in the title role, is a woman possessed. Her influences are less than heavenly; as a child she witnesses the murder of her sister by the English, a death caused by the sister's giving her hiding place to young Joan, which causes an intense desire for revenge. Yes, God still speaks to Joan, but even this is undermined, as Dustin Hoffman, playing The Conscience, questions her motives.Cinematically, The Messenger is stunning, with fantastical sequences of Joan in communication with higher powers. Yet the graphic violence (scenes include random decapitation and a dog gnawing on a body); the uneven accents, which make it difficult to tell who is fighting on which side; and the rewriting of lore may make this version of Joan of Arc appeal only to Besson fans. Jovovich is convincing, and while at times the film may drag (at times you wish they'd hurry up and burn her), it is a remarkable and insightful retelling of a well-known piece of history. --Jenny Brown

La Femme Nikita
French director Luc Besson (The Fifth Element) broke the commercial taboo against female-driven action movies with this seminal, seductively slick film about a violent street punk (Anne Parillaud) trained to become a smooth, stylish assassin. Though it amounts, in the end, to little more than disposable pop, the film has a cohesiveness in style and tone--akin to the early James Bond films--that gives it a sense of integrity. Parillaud is compelling both as a wild child and chic-but-lethal pro (trained in good manners by none other than Jeanne Moreau). Tchéky Karyo is also good as the cop mentor who develops feelings for her. --Tom Keogh ... Read more

Reviews (3)

Luc Besson Rocks!
Simple Review - This is a great collection from a great director. You obviously wouldn't be looking to buy the entire collection if you hadn't seen any of the individual films, so if you like Luc Besson or Jean Reno (an actor in many of Besson's films) then you'll like this set. The good news is that 1) The Professional is the extended international version with 26 additional minutes of footage ($25 on its own), 2) the Big Blue is the director's addition with lots of extra footage, and 3) the Messenger is the extended international version, too. Also, each DVD case has the same spine and border, so they make a really good looking pack. This is a great buy!

Excellent Collection
A long-time Luc Besson fan, I have avoided renting or buying one of my all-time favorite films, 'Subway' because the US dubbed version is so incredibly terrible. I finally got around to shopping for the DVD and discovered that it had been released twice, once in the original, reformatted version with English dubbing (BLECH!) and more recently in wide-screen format with choice of French with English subtitles or the (BLECH!) dubbing. This box set, for those who are curious, includes the latter version. In fact, all the films in the set are in wide-screen format (5th Element includes BOTH modified and wide-screen) and the box set includes Director's Cut (original French version) of The Big Blue. I took the plunge and bought the collection and can honestly say I'm ecstatic to have purchased it. Well worth the money!

6 DVD Set Luc Besson
One thing which I wanted to know, but could not find on the packaging until I opened it, was whether the movies in the set were all widescreen. I was quite happy to find out that all of the films in the collection are widescreen, at least according to the packaging. I have watched 4 of these films and enjoyed them all. It would be useful if the technical specifications section would spell out more clearly when films, especially in box sets, are in widescreen. ... Read more