Krull provides much swashbuckling cheese. But that’s precisely what gives the film a coy, relative appeal. Despite his role’s poor definition, Ken Marshall delivers Colwyn with some charisma. Krull also features engaging art direction, including The Beast’s jagged, globe-hopping fortress, and ambitious make-up effects that–if nothing else–seems a real challenge to function in.

Lester takes all the wrong approaches.

Unfortunately, the problems with Jedi cannot be fixed even with the best digital software in the galaxy: the weak story (another death star assault, another visit to Dagobah, the exotic planet of the trees, annoying teddy bears), the bad performances..., the burp jokes (three in the first half hour--I guess I missed the toilet humor in the first two) and Luke's bizarre-looking hair mop. It's sad. [Special Edition]

One of the funniest things I have ever seen was Dustin Hoffman weeping uncontrollably as he recounted how he never truly understood the inner pain and torment of what it felt like to be an ugly woman until he made “Tootsie.” I wouldn’t trade that thirty seconds for the entire film. Tootsie is funny enough and Hoffman truly does make an scary awe inspiring wreck of a woman, but people would have you believe this film was the Rosetta Stone of comedy, whereas it’s really just an ok film dominated by television actors and desperately lucky to have caught Bill Murray on a free afternoon.

Sean Penn's scenes are still so stunning...His Jeff Spicoli is an unabashed kick every second he is on the screen.

The story itself holds up fairly well though, twenty years later, does come off as thinner than I recalled. [2002 re-release]

Even after over four decades, Diva still impresses with Beineix’s masterful mix of highbrow and lowbrow. With the stunning new 4K restoration, Diva retains its well-deserved status as a late 20th-century movie masterpiece.

An endearing view of a past time and filmmaking style – think Corman with a heart – Eating Raoul offers a bare Woronov, a prime slice of sexy-ugly that can never be duplicated, just like this film.

The Loveless is far from Bigelow or Dafoe's best work but still remains an impressive debut for both. Thanks to the deliberately subdued pace and reworking of the biker genre, The Loveless deserves to be given a second chance.

Time Bandits has a wonderful, Zelig-like quality to be whatever you want it to be. Do the diminutive bandits represent the Pythons? Sure, probably, to some extent. Is the film a fairy tale disguised as a revisionist history lesson? Yes, you can see it that way. Does it offer a commentary on the ills of modern society? I think so. Is it a combination of all those things and more? Very likely.

Aside from the over abundance of rather large glasses and sweaty actors, Body Heat succeeds fabulously, not only as an excellent example of a classic film noir but as a solidly executed production in its own right.

Bill Murray is as funny here as anyone has ever been funny and I can’t see anyone else getting away with half the things he says here much less have them sound so cool and inspired.

In many ways, Dragonslayer is a realistic fairy tale. All of the classic pieces are here: heroes, bad guys, monsters, virgins in peril, mysticism and staggering odds.

Max von Sydow is flawless as Ming, playing him with the perfect blend of malevolence and evil glee.

Cimino fashioned a deep, multi-textured screenplay rich with fully dimensional characters. His ensemble cast brought the story to vivid life. Kristofferson gave a career peak performance here as a man who seems perpetually out of his element.

Who thought that New Kids On the Block would turn out to be the most influential group of the ’90s? Anyone who was paying attention to history, of course. That’s why The Idolmaker is so fascinating. Based on the guy who gave us Fabian and Frankie, it understands the inevitable pattern that repeats itself time and time again.

What it lacks in plot and character development, is more than made up for with charm, cleverness and extensive bloodletting.

How does Xanadu qualify as the greatest movie musical? Simple: it offers nothing but pure wall-to-wall fun and nonsense to keep a smile on one’s face from the opening credits (which cleverly spoof the logo of Universal Pictures) through the end of the picture. [11 Aug 2005]

If you get half of the jokes flung your way, and laugh at half of those you’re still in much better shape than the very best episode of Three’s Company. If you truly study this movie and love it all, you probably haven’t done much with your life, but at least you’re smiling.

Subtle, neurotic and multi-layered, every scene in The Stunt Man is about multiple things at once. Paranoia, obviously, but also the stress of filmmaking and simply living.

Bronco Billy is an odd salute to those clean hearted good guy cowboys like Gene Autry and Roy Rogers, and Clint manages to revel in the glory of that myth despite the fact that he is probably more responsible for making that kind of Western unworkable in modern cinema than anyone else I can think of.

Quite frankly, the film looks terrible and moves with painful slowness, while the voice performances by both the juvenile and adult actors are so lacking in character that one could almost assume the cast performed their lines phonetically.

For a supposed mainstream movie, Kubrick’s The Shining isn’t very audience friendly. Half the time you have to guess what the hell is going on, and if you're not familiar with Kubrick's narrative style you’ll be completely lost.

It was incredible to see what is arguably the best of the Star Wars films, on the big screen again. However, I do not believe that any of the minor changes make the film any better. [Special Edition]

This is a perfect film for those who love the New Hollywood era and exhilarating crime flicks. Night of the Juggler is an entertaining rediscovery with a strong storyline and an amazing time capsule of New York during its worst days.

The Europeans expects you to meet it halfway. When you do, you’re rewarded with a story that’s rich with complicated emotions, despite its self-confident exterior. It’s like its characters in that way, and also in the way, it thinks highly of itself and presents itself accordingly. Modesty never did a movie good.

While not a remarkable action/race film, Fast Company does boast some innovative and impressive footage captured from inside a dragster that would not have been the same directed by anyone else.

This is a five star film because it is one of the most perfect science fiction thrillers of all time.