Has a terrific premise but no script.

So if you're in the market for a "family" film, Natty Gann qualifies. But that doesn't mean it's a boring, namby-pamby entertainment. Rather, it's that Natty, in her cap and jacket and determined look, is a character with universal appeal. [15 Oct 1985, p.2C]

What`s lacking is a clear conception on Jewison`s part as to what this film is about.

One of the year`s boldest, most successful films, a film full of ideas that challenges us to examine how we conduct our lives, while at the same time dazzling us with extraordinary visuals.

From time to time, a movie comes along that is so unconventional, so weird, so flagrantly negligent of mainstream taste that it will develop a loyal cult following--"The Rocky Horror Picture Show," now celebrating its 10th profit-filled anniversary, being a good example. This is the kind of movie the makers of "Morons From Outer Space" set out to produce, but failed to deliver. But who knows? In Britain, they may eat this stuff up. [12 Nov 1985, p.C5]

In its execution, Stand Alone is no worse than other violent vigilante films in the ''Death Wish'' mold--its vision simply is more offensive.

A study in formula film making and a lousy movie. [03 Sep 1985, p.5C]

There's a good movie lurking somewhere in Susan Isaacs' script of her comic murder mystery novel "Compromising Positions" but neither Isaacs nor director Frank Perry has found it. [30 Aug 1985, p.A]

Teen Wolf is a clever and inventive film, a soft and contemporary retelling of the familiar werewolf tale.

Heavily laden with antinuclear messages, bad dubbing and worse dialogue, Godzilla 1985 is a pale imitation of the original film, a calculated bit of cinematic nostalgia that leaves one yawning. [20 Sep 1985, p.J]

It's a shame that this often cute script couldn't have better served, and been better served by, its actors.

What a letdown! The remake of the 1935 classic ''The Bride of Frankenstein'' with rock star Sting as the doctor and Jennifer Beals as the reconstructed bride is a complete failure in telling its principal story.

Though the racing action scenes are initially satisfying, one soon tires of the mountain scenery. And the obvious-from-the-start ending robs the race of whatever dramatic tension it ordinarily might have possessed.

It so often is a joy to look at and so often a pain to listen to.

Nothing, absolutely nothing, at either location is the slightest bit funny. [13 Sep 1985, p.C]

Director Carl Reiner, an old comedy pro, does well enough with the comedy's dumb but funny big-bust and jock-strap jokes. [09 Aug 1985, p.D]

Bereft of wit or charm, the film is forced to rely heavily on its special effects. These, however, have a tacky, homemade feel. The dinosaur, for instance, recalls those goofy Godzillas from the heyday of Japanese monster movies. A Stone Age man and some goons from after the apocalypse look like they came from a wax museum. [13 Aug 1985, p.5C]

Real Genius is packed with characters and jokes, easily containing three times as many attempts at humor as other summer comedies this year. Frequent moviegoers will appreciate the extra effort. [9 Aug 1985, p.A]

What a disappointment Weird Science is! A wonderful writer-director has taken a cute idea about two teenage Dr. Frankensteins creating a perfect woman by computer and turned it into a vulgar, mindless, special-effects-cluttered wasteland.

Fright Night is pleasantly, if effortlessly, well-acted and gently scripted. And when the ghoulish special effects and wry comedy aren't on screen, there's the occasional in-joke for viewer distraction. [06 Aug 1985, p.4C]

The script of Follow That Bird simply plays like a TV vignette blown up to movie size, failing to fill both the screen and our imagination. [06 Aug 1985, p.5C]

One of the most intriguing prison dramas ever put on film.

Too many scenes in European Vacation peter out about a gag or two short for the film to be as funny as it ought to be. But the basic amiability of the humor is as pleasant as it is surprising.

Teenage summer film trash such as The Heavenly Kid makes one root for the leaves to start turning brown.

The essential problem with The Black Cauldron is that the central human character in the story is a complete drip, making it difficult to root for his success at saving the world from ruination.

It's bankrupt in terms of imagination. All he (Romero) does is place his zombies in the basement of a missile silo and have a few crazed military types scream at the zombies and at each other. End of movie. [03 Sept 1985, p.5C]

Teenagers, who may not have seen this picture's many hero/outlaw predecessors, might like its the pop soundtrack, better-than-average acting and modest punk attire. Everyone else is likely to find Billie Jean the very thing that becomes a legend least. [22July 1985, p.3C]

Leave it to an American production team to remake the same premise into an inarguably worse movie. And this insufferable remake called The Man with One Red Shoe marks the second time in as many years that producer Victor Drai, a former estate developer, has taken a French movie and turned it into garbage. Last year he took the genuinely amusing ''Pardon Mon Affair'' and reworked it with the help of the increasingly annoying Gene Wilder into ''The Lady in Red,'' one of the year`s worst movies.