2000 AD reunites Aaron Kwok and Andrew Lin from the ferociously pyrotechnic Black Sheep Affair (1998) for a slick but muddled Hong Kong/Singapore co-production conspiracy thriller about computer espionage. Kwok and Lin make fine adversaries, and have one excellent martial arts battle on a vertigo-inducing rooftop. Otherwise the action involves powerfully staged Heat-style gun play rather than martial arts, one set-piece car chase/shoot-out being strongly influenced by the Riviera pursuit in Ronin (1997). Beginning as a serious thriller, Kwok's nerdish computer games designer transforms into an invulnerable action hero, and any sense of plausibility is sacrificed for regulation mayhem. Cluttered with more characters than it knows what to do with, 2000 AD combines aspects of The Net (1995) and Entrapment (1999) into a largely nonsensical plot. Lin's villain is given vital information which later he is completely ignorant of. We never find out exactly what he is planning, or who he is really working for, and in one mystifying sequence he crashes the Singapore stock exchange, yet the event has absolutely no effect on anything. Though the cast is engaging and the direction polished the finale is an anti-climax, symptomatic of a highly entertaining movie which promises more than it delivers.

On the DVD: The 1.77:1 anamorphically enhanced transfer is clean and generally free from grain; the Dolby Digital 5.1 audio is as powerful as any heard on a Hong Kong movie, although listen though headphones and a fair degree of background hiss is clearly audible in the quiet scenes. The film can be viewed with the original Cantonese dialogue and English subtitles, or dubbed into English. Either way, a surprisingly large amount of the original dialogue is in English. There is a 19-minute "making of" documentary, though this is bland made-for-television promotional fare. Much better is the 14-minute interview with director Gordon Chan and a 17-minute interview with Andrew Lin who reveals how once shooting had begun his originally heroic part was re-written to make him the villain, thus explaining why the plot makes so little sense. Best of all is the commentary by Chan and Hong Kong film expert Bey Logan, which is packed with information about the movie, Hong Kong cinema and filmmaking in general. By itself it makes the DVD a worthwhile purchase. --Gary S Dalkin

A daring experiment in unconventional narrative inspired by Arthur C Clarke's short story "The Sentinel", 2001: A Space Odyssey is a visual tone poem (barely 40 minutes of dialogue in a 139-minute film) that charts a phenomenal history of human evolution. When Stanley Kubrick recruited Clarke to collaborate on "the proverbial intelligent science fiction film", it's a safe bet neither the maverick auteur nor the great science fiction writer knew they would virtually redefine the parameters of the cinema experience with the result. From the dawn-of-man discovery of crude but deadly tools in the film's opening sequence to the journey of the spaceship Discovery and metaphysical birth of the "star child" at film's end, Kubrick's vision is meticulous and precise. In keeping with the director's underlying theme of dehumanisation by technology, the notorious, seemingly omniscient, computer HAL 9000 has more warmth and personality than the human astronauts it is supposedly serving. (The director also leaves the meaning of the black, rectangular alien monoliths open for discussion.) This theme, in part, is what makes 2001 a film like no other, though dated now that its post-millennial space exploration has proven optimistic compared to reality. Still, the film is timelessly provocative in its pioneering exploration of inner and outer-space consciousness. With spectacular, painstakingly authentic special effects that have stood the test of time, Kubrick's film is nothing less than a cinematic milestone--puzzling, provocative and perfect. --Jeff Shannon, Amazon.com