Anyone who spent the ‘90s in the Action-Adventure section of their local video store will find a kindred spirit in SAS: Red Notice. There’s more than a little Under Siege or Executive Decision in the film’s DNA, a prolonged, wrong-place-wrong-time gunfight featuring a creature of Western foreign policy’s own making.

It's a one-note gag, but a superior gag performed with a minimum of cheese and a surplus of laugh-out-loud moments.

While neither as outlandish as its sequel, Police Story III: Supercop, nor as emotionally turbo-charged as the series opener, this second Ka-Kui adventure rests comfortably in-between the others, overflowing with Chan's patented stuntwork and comic high jinks, and as such, it's a fine introduction to the Jackie Chan phenomenon.

What makes Orphan: First Kill worthwhile is that it acknowledges the original before taking a hard left turn into overblown soapy madness. The modern gothic of the first film transforms here into a perfectly fitting explosion of operatic schlock.

When compared with most of what passes for honest teen drama these days, My Summer of Love is a real reprieve.

The film is another near-miss talking point in an endless deluge of reminders that this system creates a breeding ground for toxic masculinity.

While its heart is always in the right place, the humor – especially in the sludgy first act – is hit or miss.

Millennium Actress has more layers to it than the proverbial onion, but Kon’s sure hand keeps things moving right along and into the next historical period.

You didn't actually think Stephin Merritt was going to cozy up to the camera and reveal his deepest-darkest, did you?

Van Sprang is perfect as the bruiser carrying a lifetime of regrets and debts he can never settle.

Jokes about anal sex and cameos by the likes of Martha Stewart and Wanda Sykes help or hinder as the case may be, but know that your level of enjoyment is directly proportional to how many drinks you’ve had. My advice: Make it a double.

Not only are these characters beautifully underplayed, but they're underplayed by two of the most enthusiastic scene-stealers around: Walken & Lauper.

There's an extraordinary immediacy to Luxor, born of director Durra's unromantic but loving view of the environment.

An above-average “killer kid from hell” picture. Not The Bad Seed but not bad.

"It's difficult for people to believe our story," says one kid, succinctly, eloquently, "but if we don't tell you, you won't know."

Roeg's points about the contrasts between noble savages and civilized effetes don't stand up terribly well over time.

The voice acting, from new Batman Bale to the almost unrecognizable Bacall is fine – even Crystal reigns in his usual Borscht Belt bravado – if a little plain.

A suspenseful breath of fresh air following on the heels of one of the dumbest Hollywood summers in recent memory.

When the segments do gel, they share a wickedly witty and suitably sickly, gory sense of humor that relishes insider horror jokes but never feels cliquey.

Jet Lag's romantic fluffery is somewhat beneath these old pros, but they make its meet-cute scenario work, mostly -– and most especially when crusty, grumpy, grizzled Jean Reno announces he's "totally in love."

MBV 3D is full-on, old-school, Fangoria-approved, gorehound heaven – a supersaturated arterial goregasm with zero socially redeeming values for anyone other than first-year med students.

In its best moments, the film's duo of Galifianakis and Downey Jr. remind us of a bickering Laurel & Hardy digging themselves out of another fine mess. And we're happy to be along for the ride.

Bandslam belongs to Connell. He has the unruly 'fro and endearing shamblingness of a young Daniel Stern, and he ably brings to life that rarest of cinematic qualities: decency.

If you want a movie filled with kills, blood, fights galore, and more than a little Scott Adkins, Accident Man: Hitman’s Holiday is for you.

Sam & Kate doesn't try to elicit big emotional responses, but that's exactly why it gets them.

Frankie & Johnny is an episodic romantic comedy of opposites attracting; there's a real joy in watching the courtship of these lovers and the consummation of their undeniable attraction for one another.

Not likely to become any landmark achievement, yet it's sure to earn a berth among the perennial Christmas film classics.

The film is funnier than it has every right to be, given the boilerplate premise of dogs bringing people together, but Marino and co. go for the brass ring.