In The Black Sheep Affair special forces agent Yim Dong (Chiu Man Chuk--the brilliant wu shu marital artist star of 1995's The Blade) is transferred to the fictional ex-Soviet Republic of Lavernia, actually Hungary, where the explosive Now You're Dead (1998) was filmed. Soon he has arrested Mishima, played by Hoi Lin who delivers a chilling performance as a ruthless Japanese terrorist who believes he is Christ returned to bring bloody redemption. Before long Mishima's fanatical followers are causing mayhem, while in a bittersweet sub-plot Yim revives his relationship with the girl he loved in Beijing before the 1989 uprising.

The comparatively low budget shows occasionally, and even in the Cantonese version all the Lavernians are dreadfully dubbed with American voices, one duplicitous official coming across like a camp Oliver Reed. Against that there is an attempt to offer some political substance, and the action--a mixture of martial arts and gunplay--is fast, furious and stunningly staged, so that even as it goes ludicrously OTT it remains exhilarating. The "shoot-the-hostages" finale reaches an emotional intensity and breaks rules no Hollywood action flick would dare, turning into a John Woo-like slaughterhouse which makes the likes of Die Hard (1988) look tame.

On the DVD: The end titles carry the Dolby Digital logo, so why both the Cantonese subtitled and English dubbed versions of a 1998 film are presented in two-channel mono is a mystery. The anamorphically enhanced 1.77:1 image is good but not exceptional, and exhibits some clear compression artefacts. The "music promo" is essentially one of Hong Kong Legends' own specially-made trailers, and is accompanied by more trailers for a further five films. The photo gallery is pointless but the text biographies of the two main stars are detailed enough to be interesting. Two minutes of poor quality video show Chiu Man Chuk demonstrating some wu shu moves, while a four-minute interview conducted at the same time via a translator for French television does little more than reveal the star as an amiable chap. Several of the features are also present on the DVD of Chiu Man Chuk's Body Weapon (1999). --Gary S Dalkin

Anyone who has even the slightest trouble with insomnia after seeing a horror movie should stay away from The Blair Witch Project--this film will creep under your skin and stay there for days. Credit for the effectiveness of this mock documentary goes to filmmakers Daniel Myrick and Eduardo Sanchez, who armed three actors (Heather Donahue, Michael Williams, and Josh Leonard) with video equipment, camping supplies, and rough plot outlines. They then let the trio loose into the Maryland woods to improvise and shoot the entire film themselves as the filmmakers attempted to scare the crap out of them. Gimmicky, yes, but it worked--to the wildly successful tune of $130 million at the US box office upon its initial release (the budget was a mere $40,000). For those of you who were under a rock when it first hit the cinemas, The Blair Witch Project tracks the doomed quest of three film students shooting a documentary on the legend of the Blair Witch from Burkittsville, Maryland. After filming some local yokels (and providing only scant background on the witch herself), the three, led by Heather (something of a witch herself), head into the woods for some on-location shooting. They're never seen again. What we see is a reconstruction of their "found" footage, edited to make a barely coherent narrative. After losing their way in the forest, whining soon gives way to real terror as the three find themselves stalked by unknown forces that leave piles of rocks outside their campsite and stick-figure art projects in the woods. (As Michael succinctly puts it, "No redneck is this clever!") The masterstroke of the film is that you never actually see what's menacing them; everything is implied, and there's no terror worse than that of the unknown. If you can wade through the tedious arguing--and the shaky, motion-sickness-inducing camerawork--you'll be rewarded with an oppressively sinister atmosphere and one of the most frightening denouements in horror-film history. Even after you take away the monstrous hype, The Blair Witch Project remains a genuine, effective original. --Mark Englehart, Amazon.com

In the late 1960s and early 70s, a bizarre alliance between the Filippino movie company Hemisphere and the American exploitation outfit Independent International yielded a series of weirdly interconnected horror movies, most of which work the word Blood into the title. The Filippino items are strangely fascinating vampire and mad scientist pictures with oddball colour effects and a mix of naive serial-style thrills and extreme-for-the-era sex and gore; the American efforts, from director Al Adamson, are shoddier, thrown together from offcuts of previous pictures, and are lead-paced but nevertheless curiously appealing. Gaze in awe at mutant killer trees, slobbering hunchbacked servants, faded matinee idols, stripper-turned-actress heroines with concrete blonde hairdos, evil dwarves, John Carradine or Lon Chaney, footage cut in from completely different films, Dracula and Frankenstein meeting hippies and bikers, red filters when the vampires attack, chanting natives! Plus lots of exclamation marks! Plus lurid trailers!

In The Blood Drinkers a bald vampire in New Wave sunglasses tries to revive his dead girlfriend using her twin sister's heart. This is an unusual vampire effort with special tints to indicate normality (lovely pastel colour), night-time and the presence of evil (blue shadow) and vampires acting viciously (cherry blood red). Plus Basra the Bat! --Kim Newman