In Moscow, after FBI deputy director Carter Preston (Sidney Poitier) and scarred Russian intelligence officer Valentina Koslova (Diane Venora) bring down a key figure in the Russian Mafia, they are threatened by the criminal’s powerful brother who swears vengeance on the FBI and immediately hires a professional assassin, the Jackal (Bruce Willis) to kill a leading American political figure. A master of disguises, the Jackal believes in total perfectionism and demands $70 million for the job. The FBI suspects the Jackal is aiming for the FBI director, so they consult with former Basque terrorist Isabella (Mathilda May), in Virginia, and Isabella’s former lover, IRA operative Declan Mulqueen (Richard Gere), serving a prison sentence. Promised leniency, Mulqueen agrees to help. Meanwhile, the Jackal prepares false passports, secures a customized computer system to run his Gatling gun, and heads toward his target in Washington, D.C.

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In this undistinguished parody of the sci fi genre, Robert Urich is Jason who leads a band of pirates in redistributing the wealth of the few to the coffers of the needy. He also joins up with Princess Karina Mary Crosby in searching for her father and a possible source of water in the next galaxy. Meant to be a campy romp through the sci fi genre, the film stops short of achieving a goal that should have been effortless.

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Brian De Palma directed this science-fiction suspense story. When the United States sends its first manned mission to Mars, hopes are high for new scientific discoveries, but many of those hopes are dashed when the Mars crew meets an unexplained disaster; three members of the mission are killed, and a fourth (Don Cheadle) loses all radio contact with the Earth. A rescue mission sets out to bring back the one survivor; in the process, they discover that Mars may not be a dead planet after all, and uncover some startling evidence about the fate of their predecessors. The rescue crew includes Gary Sinise, Jerry O’Connell, Connie Nielsen and Tim Robbins. The screenplay was partially by award-winning playwright Ted Tally, who won an Oscar for his adapted screenplay of The Silence of the Lambs.

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After successfully seeking out the ultimate slider in the 2004 stoner comedy Harold and Kumar Go to White Castle, the cannabis-craving twosome returns in this high-flying sequel that finds them labeled terrorists for attempting to sneak a marijuana-smoking implement on a flight to Amsterdam. Harold (John Cho) and Kumar (Kal Penn) have just finished gorging themselves on savory White Castle hamburgers when they return to their apartment and hatch a plan for Harold to win the heart of his crush, Maria (Paula Garcés). Maria is going to Amsterdam, and if Harold can catch up with her overseas perhaps he can strike up a real love connection. After a close call with airport personnel and a chance encounter with Kumar’s ex-girlfriend Vanessa (Danneel Harris) — who hadn’t yet told Kumar that she’s engaged to be married — the pot-loving pals finally board their flight for Amsterdam. Unfortunately for Harold, Kumar isn’t able to endure the lengthy flight without an innocent puff or two from his smokeless bong. When the plane hits some turbulence and the bong is mistaken for a bomb, the flight is diverted to Guantanamo Bay and our spliff-smoking heroes are detained by overzealous Deputy Chief of Homeland Security Ron Fox (Rob Corddry). Now, if they can just escape from the world’s most notorious prison compound, perhaps this hapless duo can succeed in convincing the authorities that they aren’t enemy combatants, and that Kumar made the mistake of his life by letting Vanessa go. But before they can prove their innocence and get the girls, Harold and Kumar will have to outsmart the dreaded Ku Klux Klan, contend with a particularly precocious Cyclops baby, and successfully elude everyone’s favorite debauched former child star — Neil Patrick Harris.

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A young boy joins a group of renegade dwarves on an unpredictable journey through time in this humorous fantasy. Monty Python animator Terry Gilliam mostly achieves a tricky balancing act in his second feature as sole director, creating a dark, irreverent comedy disguised as a family adventure. Particularly amusing are the boy’s encounters with various historical figures, including an entertainment-starved Napoleon (Ian Holm), a powerful Agamemnon (Sean Connery), and a surprisingly stuffy Robin Hood, embodied by Gilliam’s Python cohort John Cleese. Episodic by nature, the film is less successful when dealing with the larger narrative, which concerns the pursuit of the dwarves and their time-traveling map by the Supreme Being. However, the combination of Gilliam’s visual exuberance and the witty script (by Gilliam and Michael Palin) ensures an entertaining, if erratic, journey.

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Carl Schenkel directed this Tarzan film “based on the stories by Edgar Rice Burroughs.” In England of 1913, Tarzan (Casper Van Dien) is due to marry Jane (Jane March), but he suddenly chooses to return to the jungle to prevent villainous explorer Nigel Ravens (Steve Waddington) from burning and killing in his quest for the lost city of Opar. Jane’s pursuit of the vine-swinging Lord of the Apes forces her to confront snakes and other jungle perils. The film’s inane dialogue is heard amid magnificent South African locations.

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The Stargate saga continues as an elite military unit races back to Earth following the mysterious disappearance of two key team members, only to find themselves in an alternate reality where the Stargate has never been invented. Somewhere in deep space, the SG-1 team is in serious trouble. Two team members have vanished without a trace, and now the SG-1 unit’s only hope for survival is to get back to Earth as quickly as possible. Upon touching down the team is relieved to be home, but deeply disturbed to learn that the reality they just returned to isn’t the same one they departed from. In this reality, the Stargate has never been discovered and neither the government nor the military has never even heard of the SG-1 unit. But who altered the Earth’s timeline, and why? Upon discovering that a malevolent alien known as Ba’al has been meddling with the planet’s timeline in an attempt to conquer Earth, the team must race against time to defeat the most powerful adversary that they have ever faced.

Academy Award-winning visual effects artist Eric Brevig makes his feature directorial debut with this adaptation of the classic Jules Verne fantasy starring Brendan Fraser. When an ambitious science professor (Fraser) develops a decidedly unconventional hypothesis, the mere mention of his name is enough to elicit laughter within the academic community. However, during a subsequent excursion to Iceland, the professor and his nephew make a major scientific discovery that sends them miles beneath the surface of the Earth, where they discover not only strange new worlds, but also encounter creatures so alien they appear to be from another world entirely.

Russian director Andrei Konchalovsky’s second American film may well be the only existential adventure flick in Hollywood history. Two prisoners, Manny (Jon Voight) and Buck (Eric Roberts), escape from a desolate Alaskan maximum-security facility. They hop aboard a speeding train, making a clean escape. But the engineer has suffered a heart attack, and the train goes out of control. To prevent a disastrous head-on collision, the railroad heads decide to derail the runaway train, killing its occupants to save the lives of hundreds of others. Once Manny catches on to what’s happening, he tries to jump off the train, only to be talked out of such a foolhardy act by railroad employee Sara (Rebecca DeMornay). As doom approaches, Manny apparently goes mad, viciously preventing any attempts to stop the train or rescue its passengers: if he’s to die, and if the others are to be saved, it will be on his terms, or no terms. Runaway Train was slated as a project for Akira Kurosawa in 1970, but for various creative and scheduling reasons, it remained on the back burner for 15 years.

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The Amazon rain forest is a living laboratory for Dr. Robert Campbell (Sean Connery), a reclusive research scientist living with a Brazilian native tribe. Campbell has accidentally discovered a flower extract that cures cancer, but has been unable to duplicate the formula. With the assistance of Dr. Crane (Lorraine Bracco), he explores every possible chemical derivative, but continues to fail. When a child in the village is near death from a tumor pressing against his trachea, Campbell and Crane stand against each other on the moral issue to use the last of the successful serum to save him or to keep it for further analysis. At the last moment, Crane reconsiders, and agrees to save the child. At the same time, commercial loggers begin to creep ever closer to the village, and government officials demand the tribe’s relocation. With only yards remaining between the bulldozers and the tribe, Campbell discovers a vital clue to the elusive elixir he seeks. His attempt to stop the workmen results in violence and a raging forest fire which destroys his lab equipment and the natives’ village. The story ends with Campbell, Crane, and the tribe pushing deeper into the jungle in search of new answers. In a change of pace from his usual action film fare, the skilled work of director John McTiernan brings emotional depth to what would otherwise be just another pro-environmental propaganda film. Connery, who had starred in McTiernan’s crowd-pleasing 1989 film The Hunt for Red October, gives a convincing performance as the determined and complex researcher haunted by mistakes of the past. Bracco’s character adds the realistic humor of the city scientist adjusting to Spartan life in the trees, but she does so with both strength and dignity. The constant bickering of two equally obstinate scientists gives a mild “honeymooners in the jungle” quality. Filmed in the Mexican rain forest, the canopy is captured in breathtaking cinematography.

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