An off-the-cuff Japanese gangster movie with an absurdist streak that shades into surrealism, Dead or Alive 2 isn't thrown by its brief to sequelise a film that ended not only with the deaths of its lead characters but the destruction of Japan. Takashi Miike--the prolific auteur whose best-known film is the atypically considered Audition--brings back his lead actors in different roles and spins off another strange shaggy dog tale. The film starts out with a Yakuza vs Triads gang war in the offing, then sidesteps into "'Beat"' Miike territory as a couple of hit-men who meet when they turn up for the same assassination turn out to be childhood friends and enjoy a nostalgic wallow as they return to the orphanage where they met, re-encounter other old pals and even stand in for some injured actors putting on a play for the children.

White-suited and terminally ill Sawada (Riki Takeuchi) and bleached blond and Hawaiian-shirted Otamoko (Sho Aikawa) get back to gunplay, committing contract murders and funnelling the profits into third world charities, which earns them occasional angel-wings or transformations back into innocent children. In constant danger of collapse, the film keeps pulling surprises: txt msg-addicted killers, an animated diagram of bullet trajectories through an unfortunate dwarf's brain. The first film blew up the country because it couldn't think of an ending, and this also has a lot of trouble signing off, with protracted deaths and redemptions for the heroes. Miike alternates clumsiness and confusion with exciting and powerful cinema. --Kim Newman

Robin Williams stars as an English teacher who doesn't fit into the conservative prep school where he teaches but his charisma and love of poetry inspires several boys to revive a secret society with a bohemian bent. The script is well-meaning but a little trite, though director Peter Weir (The Truman Show) adds layers of emotional depth in scenes of conflict between the kids and adults. (A subplot involving one father's terrible pressure on his son--played by Robert Sean Leonard--to drop his interest in the theatre reaches heartbreaking proportions). Williams is given plenty of latitude to work in his brand of improvisational humour, though it is all well-woven into his character's style of instruction. --Tom Keogh

Twin brother codirectors Albert and Alan Hughes planned their first film, the 1991 ghetto crime drama Menace II Society as a response to John Singleton's Boyz N the Hood, which they considered wimpy and moralistic. They set their sights on The Deer Hunter in this ambitious follow-up, and they just about pull it off. Larenz Tate (from Why Do Fools Fall in Love) plays Anthony Curtis, an open-hearted African American teenager who gets shipped out to Vietnam with several of his pals, witnesses unspeakable horrors and then struggles to readjust to civilian life. The evolving textures of life in a declining inner-city neighbourhood over a period of a decade are seamlessly evoked and there's enough nuanced character development and personal interaction for a seven-hour miniseries. Still in their early 20s, the Hughes brothers are already poised and masterful movie makers; they cover an enormous amount of historical and emotional ground and every twist and turn is crystal clear. They betray their inexperience only at the very end, in an elaborately staged heist sequence that, while stunningly executed, feels a bit desperate, as if they were reaching blindly for a big pay off. Chris Tucker (Rush Hour) has a startling supporting role as a kid who becomes a junkie during the war and never quite recovers. --David Chute

Like many other films by Canadian director David Cronenberg (especially Crash), Dead Ringers presents the cinematic and psychological equivalent of an automobile accident--you dare not look, but you can't turn away. The film marked a directorial breakthrough for Cronenberg, who was able to continue some of the themes explored in his earlier horror films while graduating to a higher, more critically "respectable" level of artistic sophistication. The film is loosely based, amazingly enough, on a true story about twin gynaecologists who routinely traded each others' identities, lives and even lovers. Utilizing innovative split-screen technology (years before computer manipulation made such trickery much easier), the film stars Jeremy Irons in flawless dual roles as the identical brothers Beverly and Elliot Mantle. Their ability to instantly switch identities leads them to a shared relationship with a well-known actress (Genevieve Bujold) and, ultimately, a physical and psychological tailspin that sends them both to the brink of madness and death. The scenario suggests that both men are halves of a whole, and that one cannot exist without the other. But when Beverly pursues a kinky, drug-addicted affair with the actress, his more self-controlled brother is helpless to prevent their mutual decline. In this way Dead Ringers becomes a fascinating and stylistically clinical study of duality, and Cronenberg doesn't shy away from the dark and unpleasant aspects of the story. (One look at the movie's display of bizarre gynaecological instruments and you'll know why women find this film particularly--and unforgettably--disturbing.) The Criterion Collection DVD includes illuminating commentary by Cronenberg, Irons, production designer Carol Spier and others; extensive production information; interviews with the principal cast; and a detailed examination of the film's groundbreaking use of invisible special effects. --Jeff Shannon, Amazon.com --This text refers to the DVD edition of this video.