This is Dirty Harry's greatest hits, which is a little fun and a little embarrassing. The best part of the film is a warped version of "Bullitt"'s San Francisco car chase through Pacific Heights.

Eddie Murphy does everything in this movie successfully. Coming To America remains his most personal work and a great argument that a movie can be decent and wholesome despite having enough profanity to make Bill Cosby lose sleep. A perfect argument for Eddie Murphy as decent guy even without the fame and fortune. Not that he's planning on giving it back though.

The best movie ever made about baseball, and it's not even really that close... "Major League" was funny, but Bull Durham is funny, literate, romantic, and overwhelmingly adherent to the idiosyncracies of the game.

While it would be foolish to expect a completely faithful Shakespeare adaptation from Godard, there is no pleasure in being fooled into thinking that this vague, obscure, annoying, cacophonous wreck of a film is anything but a joke being played by a self-indulgent filmmaker.

It’s a great comedy, and a deeply touching one, too.

An effective comedy, an interesting bedtime tale, and one of the greatest date rentals of all time.

It’s every kids dream to fight monsters, and in some ways The Monster Squad helps us live out that fantasy. And it’s a damn good film chalk full of horror movie references, and nods to classic films that only the discernible eye can catch.

It’s a good-looking movie overall.

The film can be enjoyed on many levels, including getting just interplanetary on your favorite substance and waiting for the plethora of quotable lines.

Predator is a classic action/sci-fi film, albeit a dated action/sci-fi film.

The guys in Ishtar are the boring wallflowers of the world. They probably shouldn't be mocked, disgraced and beaten, but who really wants to spend close to two hours with them.

Thanks to Sam Raimi’s inventive style and Bruce Campbell’s hysterical performance, the horror-comedy genre has grown into a legitimate genre, but Evil Dead 2 will forever be the king.

Deadly Friend hasn’t aged well. In fact, it’s quite crappy.

As with the Jarmusch’s best work, it is kept simple and taken very slowly and is just sort of allowed to happen. The magic lies in the lulls.

As with all of Mann's films, Manhunter is an intense experience. All of the actors, including even legendary goofball Chris Elliott, give brooding, serious performances.

This movie is a great, big mess. It’s never truly scary, and you get the feeling that Tobe Hooper’s been living off the original flick’s rep for so long that he didn’t give a damn if this movie sucked or not. And, believe me, it does.

This is yet another example of the Big Studio pushing out a film for the sole reason that they own the intellectual property and believe that we, like sheep, will see it because… well, we’ll see anything because we’re desperate for content.

This is John Hughes' best teen film, and it's a call to arms to everyone in the world who doesn't want to follow society's lame-ass rules at the expense of living a cool life.

I got my first date because of this movie so you won't see me giving it any less than three stars.

Better Off Dead is the kind of movie that people won’t really fess up to liking, but I’ve rarely met anyone who didn’t secretly love it passionately.

It’s hard to underestimate how knowledgeable this movie is about the difference between what people think they want and what they really want.

This could have been an unmitigated disaster, but Hughes' way with the material ensured it a special place in the heart of just about everyone who happened to be in high school while Ronald Reagan was President.

No one portrays and skewers really intelligent morons the way Albert Brooks does. Oddly enough Lost in America has a lot of similarities to everybody’s favorite TV show Green Acres. They are both about men who have dropped out of society and their inability to convince all the insane people in their world about the usefulness of common sense and rationality in an insane world.

The entire film seems to be the book’s narrative highlights strung together but rarely spotlights any of the themes or subtext from the book (if there are any). I don’t think this David Lynch film is Lynchian in any way. To me, Dune is a straightforward adventure with very little depth or character motivation outside the genre’s tropes.

This moves along pretty quickly and has a lot of over-the-top action and explosions. There’s a whole Missing in Action trilogy, but I can’t see how someone could sit through a second one.

The Brother from Another Planet profoundly illustrates, modern life is more unfair than it needs to be….It may not be the perfect John Sayles film, the perfect science fiction movie or the perfect film about black life — but it manages to seamlessly mix wit, slapstick, poignancy and politics.

Levinson doesn’t seem to care about redemption, guilt, or any of that other nonsense. He wants to make “the great American baseball hero movie.” He wants to say something about old neighborhoods and fathers and sons playing catch in the late summer evening. The cinematography is lush, the Randy Newman score is epic. The period detail and baseball scenes are top notch.

If anyone can figure out the cosmic significance of the film's omnipresent pine tree car fresheners, you're a better man than me.