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Death Becomes Her

This 1992 black comedy by Robert Zemeckis (Forrest Gump, Who Framed Roger Rabbit, the Back to the Future trilogy) features some of the most eye-popping special effects of the '90s in its story of a narcissistic star (Meryl Streep) who steals the husband (Bruce Willis) of another woman (Goldie Hawn) and continues her rivalry with her even after death. A magic potion keeps both women going despite the punishment of murderous bullets and fatal plunges, and the joke is that even as they rot they remain vain about appearances. Though he's fashioned a one-note movie, Zemeckis gets a lot of mileage out of such impressive sights as Hawn walking around with a hole in her chest the size of a basketball, and Streep--her head and arms twisted 180 degrees--moving like a broken crab. It's weird, it's sick, it's hilarious, and the stars push the whole project to a classy entertainment. Isabella Rossellini is great as a scantily clad witch who sells the immortality brew. --Tom Keogh

Bird on a Wire

This action-comedy from 1990 makes the critical mistake of trying to mix a potentially suspenseful plot with the kind of humour that Mel Gibson can only get away with in his Lethal Weapon movies. It doesn't work here because the movie's supposed to be a Hitchcockian thriller and Mel's wisecracking--not to mention some implausible plot twists and ridiculous chase scenes--makes it impossible to take any of this movie seriously. It works best as a lightweight vehicle for Gibson and Goldie Hawn, who bring their own established appeal to their roles as old lovers who are reunited under unexpectedly dangerous circumstances. After testifying against some drug-running killers, Mel's been safe under the protection of the FBI's witness relocation program, and Goldie coincidentally enters his life again just as the bad guys are hot on Mel's trail. They join up and go on the run from the villains and ... well, let's just say director John Badham doesn't have any big surprises up his sleeve. Goldie and Mel are enjoyable, as always, but you'd have to be their biggest fan to watch this movie more than once. --Jeff Shannon

Housesitter

The teaming of Steve Martin and Goldie Hawn would seem to have been sure-fire casting, but Housesitter's writing is never strong enough to sustain it and the film's hit-and-miss quality has more misses than hits. Martin plays an architect who builds his dream house for his high school sweetheart (Dana Delany), then surprises her with a marriage proposal--both of which she rejects. Distraught, he goes back to New York and pours out his heart to a woman he meets in a bar and beds (Hawn), not realising she is a flaky con artist. She knows a good thing when she hears it and heads for his hometown, moves into the empty dream house, and begins passing herself off as Martin's new wife. Though the writers build in a variety of complications (involving Delany, as well as Martin's parents and boss), the film finds its jokes only in fits and starts, though Martin has a particularly hilarious moment when he must sing to his father in front of a crowd of strangers. --Marshall Fine