Drama

Freeways are clogged. Terror stalks our cities. At shops and restaurants, the customer is seldom right. The pressure of big-city life can anger anyone. But Bill Foster is more than angry. He's out to get even. "I'm going home," Foster says as he abandons his gridlocked car on the hottest day of the year. Instead, he walks straight into an urban nightmare by turns absurdly funny and shatteringly violent. Academy Award winner Michael Douglas is Foster, an ordinary guy at war with the frustrations of daily living.

One of Clint Eastwood's two most important filmmaking mentors was Don Siegel (the other was Sergio Leone), who directed Eastwood in Dirty Harry, Coogan's Bluff, Two Mules for Sister Sara, and this enigmatic, 1979 drama based on a true story about an escape from the island prison of Alcatraz. Eastwood plays a new convict who enters into a kind of mind game with the chilly warden (Patrick McGoohan) and organizes a break leading into the treacherous waters off San Francisco.

One of the most acclaimed films of the year, The Fast Runner is an extraordinary, triumphant experience. Set amongst the Inuit people of the arctic, the film is a thrilling, passionate story exploring the universal themes of love, revenge and survival. When a small, nomadic community is cursed by an unknown shaman, the curse is still felt years later. Atanarjuat falls in love with Atuat, a woman already promised to the son of the clan's leader. In a fight, she is won by Atanarjuat causing vengeful clan leader Oki to plot to attack Atanarjuat and his brother in their sleep.

In the last 15 years Jack Baker (Jeff Bridges) and Frank Baker (Beau Bridges) have played every hotel and cocktail lounge they could book. But lately business has been off and they decide to hire Susie Diamond (Michelle Pfeiffer), a chain-smoking, hard-talking beauty with a terrific voice. The trio hits the road and they are an instant success. Susie has given the act a touch of class and a lot of sex appeal. Jack secretly yearns to play solo jazz gigs even though Frank wants to keep the group together.

John Boorman's 1985 South American epic never quite gets all of its gears working simultaneously, but it remains an often startling work with an extraordinary performance by the director's own son, Charley Boorman. Powers Boothe plays an American engineer working on a dam project in Brazil. When his young son is seemingly absorbed one day into the dense perils and beauty of the Amazon rain forest, Boothe's character goes on a protracted, 10-year search for him.

Too old for Hamlet and too young for Lear--what's an ambitious actor to do? Play the Devil, of course. Jack Nicholson did it in The Witches of Eastwick; Robert De Niro did it in Angel Heart (as Louis Cyphre--get it?). In The Devil's Advocate Al Pacino takes his turn as the great Satan, and clearly relishes his chance to raise hell. He's a New York lawyer, of course, by the name of John Milton, who recruits a hotshot young Florida attorney (Keanu Reeves) to his firm and seduces him with tempting offers of power, sex, and money.

Suffering from a bad case of writer's block, author Jack Manfred (Clive Owen) sits in his London flat, staring at an empty computer screen and trying to find the words to narrate his meandering life. Reluctantly Jack accepts a job from his absentee father (Nicholas Ball) at a second-rate casino as a dealer, or croupier, a job he once held in South Africa. His immersion back into this world is intoxicating, thanks primarily to the power he holds over his nightly clientele.

As with Grease (1978) and Footloose (1984) before it, Dirty Dancing was a cultural phenomenon that now plays more like camp. That very campiness, though, is part of its biggest charm. And if the dancing in the movie doesn't seem particularly "dirty" by today's standards - or 1987's - it does take place in an era (the early '60s) when it would have. Frances "Baby" Houseman (Jennifer Grey, daughter of ageless hoofer Joel Grey) has been vacationing in the Catskills with her family for many years. Uneventfully.

Four ordinary men in two canoes navigate a river they only know as a line on a map, taking on a wilderness they only think they understand. Deliverance, based on James Dickey's novel, surges with the urgency of masterful storytelling, like Georgia's Chattooga River along which it was shot. Equally masterful is the portrayal of each man's change of character under stress, harrowingly enacted by award winners Jon Voight, Burt Reynolds, Ned Beatty and Ronny Cox.

A sumptuously mounted and photographed celebration of artful wickedness, betrayal, and sexual intrigue among depraved 18th-century French aristocrats, Dangerous Liaisons (based on Christopher Hampton's Les Liaisons Dangereuses) is seductively decadent fun. The villainous heroes are the Marquise De Merteuil (Glenn Close) and the Vicomte De Valmont (John Malkovich), who have cultivated their mutual cynicism into a highly developed and exquisitely mannered form of (in-)human expression.