Kim Newman

Fonda and Danner — who looked then exactly like her daughter, Gwyneth Paltrow, does now — are likable leads in ’70s futurist leisurewear (why didn’t those tailored jumpsuits catch on?), and some creepy corporate robot action helps (Danner’s gunfight with her robot duplicate), but it’s a lot less exciting than the original and replaces satire with TV-style plotting.

Unforgivably terrible.

Fanning brings her A-game and there’s enough mystery about the monsters in the woods to string audiences along until the satisfyingly weird finish. As mid-list horror goes, perfectly fine.

One of Tom Hanks' overlooked performances because this bizarre thriller-comedy ends so strangely but there's much to like here.

Lurie's remake doesn't bring a lot of fresh ideas to the table. The thick fug of moral ambiguity, so disconcerting in Peckinpah's film, is missing, replaced by certainties rife in modern horror. The result is a bit of yawn enlivened only by James Woods' delirious bad guy.

Despite magic moments, this is so lop-sided in conception it's really only worth seeking out as a folly.

Too safe to shock and too familiar to really frighten, this is an overly conventional affair.

A moving and often funny self-portrayal of Chapman that will delight Python fans.

Murphy occasionally does uninterrupted seconds of shtick, but the film is stuffed with cheap sentiment (a kid with cancer), extraneous characters and embarrassing simplistic politics.

The first film had its moment of charm, and the cast were good enough to overcome the downright stupidity of the storyline, but this is simply a dreary bore that takes advantage of a terrific cast by moving them about on the screen without giving them anything to do. One long yawn.

It may not be as good as the material it's sourcing, but it's still fun to see so many faces from the genre in one place.

Although adequately put together, this is entirely unnecessary as a movie, with nothing to add to its limited interest sub-genre, no surprises at all in its by-the-numbers script, and no credit at all to the various servicable members of the cast.

If there are post-Harry Potter children who don’t know or care about The Wizard of Oz, they might be at sea with this story about a not-very-nice grownup in a magic land, but long-term Oz watchers will be enchanted and enthralled. There’s even a musical number, albeit an abbreviated one. Mila Kunis gets a gold star for excellence in bewitchery and Sam Raimi can settle securely behind the curtain as a mature master of illusion.

A gripping, affecting, strange movie -- but oddly, it's just like too many other gripping, affecting, strange movies we've seen recently.

Landis occasionally plays wonderful licks on the cliches, as in an original take on the familiar vampire-burning-up-at-dawn shtick, but like his earlier movies (An American Werewolf In London, The Blues Brothers) this keeps self-destructing on a story level. Of all entries in the recent vampire cycle, this is at once the most hung-up on horror history and the most revisionary in its rewriting of the mythology.

This is a feel good movie which is too mechanically put together to make you feel anything.

Hardly groundbreaking but this high-school actioner ghosts by on its charm and sense of fun.

A needless threequel. Note to director: avoid 'rise of the' titles.

Besides being an author, Edgar Allan Poe was one of the most vicious, merciless critics of his age. He would not have let this get past him without skewering its shortcomings with a barbed quill.

This isn't afraid to be a horror movie.

Delivers a decent puzzle and enough jumps to keep you enjoyably jittery.

This is one of those failures that has so many near-great things that it almost gets by on guts.