Tommy Boy is one of those films that you can watch over and over again. It seems to be on every "Buddy Movie" list and it's always out at Blockbuster.

Zane is an absolute blast, whether doing a little dance or trying to steal his way into each character's soul, he's having too much fun.

It's rarely funny when it's supposed to be, and often unintentionally hilarious when it's not. But to be fair, that's not all de Sauza's fault. Some of the dialogue might have been funny had the punchlines not been botched by Van Damme's awkward accent and flat delivery.

Despite the editing flaws, and the weaker aspects of Branagh's performance and direction, Mary Shelley's Frankenstein is one of the better adaptations of the original, nearly 200-year-old story.

Tombstone is incredibly entertaining. While not entirely original and not always well executed, it manages to keep your attention for the entire 130-minute duration. And let's face it, Val Kilmer as Doc Holliday is what really sets it apart.

It's quite possibly the greatest Batman movie ever.

The classic humor of this film still remains.

Carlito's Way, like Casualties of War and Mission: Impossible, seems to stand at a nexus between commercial fealty and directorial idiosyncrasy; it's a sort of half-breed film that exudes personal vision but functions satisfactorily for the multiplex crowds at the same time.

The script – which revolves around a serial killer and explores the idea of traumas both mental and physical – isn't particularly strong, but the direction is, as always, first-rate.

Based on a true story, the whole thing is a sloppy mess of football wishes and caveat dreams that will forever be remembered, but never watched in just one sitting.

Willis and Parker are fine in their respective roles, but neither character is given much spark. Willis sulks for most of the picture, grimacing at his enemies and drinking his way through scenes.

The movie is frantic in fits and starts, but still remarkably tedious for such a slapstick comedy. It expends an astounding amount of time and energy setting up both its jokes and physical comedy routines, many of which are tired, watered-down iterations of material done better by Sellers.

At the end of the day, the movie works. It's funny, it's charming, it's sweet – all elements that make it a more accessible comedy than Meyers' later work, which is generally aimed to a more specific audience. It's certainly worth rewatching and holds up well to retrospect, and while it might not be the laugh-a-minute spoof that was the original Austin Powers, it's an amusing – and at times hilarious – look back at the beginning of one comedian's superstar career.

Men in Tights does work more often than not, even if the jokes are a little cheaper than normal.

Super Mario Bros. has a solid cast of characters who are thrust into a psychedelic smattering of scenes hastily glued together in nearly offensively stupid ways, but it’s also strangely ambitious at times.

Sliver is a godawful movie - not worth a wank, much less a watch.

This is a movie for anyone who has ever loved baseball and for anyone who enjoys the American Graffiti/Stand by Me style of narrative. Highly recommended.

If you love Christmas movies, and especially if you have some young family members you wish to share your holiday with, you can't go wrong with The Muppet Christmas Carol.

Curse you and your vile coma-inducing powers, Jennifer 8!

Crowe is magnificent as Hando, the leader of the gang whose decisions land them all in hot water and Daniel Pollock (who killed himself during post production) is right there with him. It's a tragic, harrowing little film.

Many smaller details also hit home, and though it certainly is exaggerated all over the place, the film is dead on and plays even better now than in '92.

Lethal Weapon 3 picks up where Lethal Weapon 2 left off, with the same gags and tough-guy dialogue but things are starting to wear a bit thin.

Vastly entertaining, but like Porco aiming for the ethereal stream of planes above the clouds, never quite reaching its profound goals.

Towards the end of the ride you are ready to get off... but if ride films are your thing, you'll be surprised at how much you enjoy this, even if you don't remember much about it afterwards.

The problem is – the film plays more like a brainstorm exercise than a feature length film. There are gobs of great ideas here, but none of them connect in the way fans likely wanted.

Two Evil Eyes is a flawed project. Romero's segment doesn't pull its own weight. While it is creepy in spots, the majority of the story is overlong and ho-hum in the execution. On the other hand, Argento's entry is strong work that clearly demonstrates a love for Poe's writing. It's not your typical Argento, but many of the standard elements that make the director's work so beautiful and compelling are present here.

Not exactly Errol Flynn, but not the embarrassment that was Disney's Robin Hood, Prince of Thieves is a fun popcorn flick take on the centuries-old legend. And hey, it does have a great cameo by a former Robin Hood as the best King Richard ever.

Misery offers a first-rate Hitchcockian thriller filled with amazing performances, solid direction and masterful writing.

There are a couple of entertaining action sequences, including the climactic battle between the cop and the Predator. The special effects, all shot on film, and the makeup effects, are top-notch for the time they appeared, so as a historical record the movie is interesting. But it just doesn't have enough meat to sate a hungry hunter.

The film does manage to provide some fresh thematic punches (and gobs of female nudity for the teen male demographic), and it's clear why Seagal was a popular action star. If only the film was a little flashier, a little edgier and a little more original. Still, it's one of Steven Seagal's finest, if that's saying anything.

Biehn, in what would unfortunately be the last of his pure good guy roles, shines in the type of role he does best: a hardened and reluctant hero who is bound by honor to do right no matter what the cost.

Dick Tracy succeeded in translating a classic comic almost perfectly to the screen. Some people may be turned off with Madonna being in the film, but if you can look past that, you'd find one of the best comic-to-film adaptations ever.

Gremlins 2: The New Batch is a great meta horror-comedy. It focuses less on scares, but makes up for it with great effects, a hilarious story, and awesome supporting characters.

Probably the only terrifying thing about this ludicrous excuse for a horror film – besides the fact that it's from the director of The Exorcist – is that Friedkin doesn't seem to realize it's a dreadful picture.

It’s not simply cashing in on the popularity of the TMNT cartoon, but is actually a thoughtful, emotional, and challenging movie about the loss and reconstruction of family. It’s got lots of hilarious one-liners and ninja action too, making it one of the most well-rounded comic book movies that’s not afraid to hold reverence to the source material while also having some fun with it.

While Cronenberg works, the two other main humans - Boone and his girlfriend, are flat and boring, mostly due to uninspired performances. Still, that's like blasting Star Wars for Mark Hamill's acting. While this isn't as great as Star Wars, it's in the same vein, and if Nightbreed had made some loot, I think we would have gotten some very cool sequels with a fantastic mythology.

It achieved a cult following for its uncompromising brutality, but it never really earned the critical or financial success many thought it deserved.

Akira is substance, and should be considered of the same weight as the works of creators like Disney, Spielberg, and Kurosawa.

This movie has always been a favorite when it comes to the nuttiness of Christmas and family, and it's still a riot. Have a merry dysfunctional Christmas.

Halloween 5 is a poor film by itself; the fact that it's filled with huge dangling plot threads that were given a bad pay off in the next sequel simply cements its badness.

At its core, Kiki's Delivery Service is about the conflict between becoming your own, independent person and relying on the support and comfort of others. Not every child who watches it will get that message, but like so many other Miyazaki's films, it strikes a chord deep down. And that's not the kind of thing you ever grow out of.

From its powerful opening line to the very end, Grave of the Fireflies is an important film that will prove to even the most stubborn naysayer that animated films can move you just like the "real stuff".

If Licence to Kill added more than just scenes with Q to lighten the load, if it provided a love interest as compelling as Vesper and more engaging than Lowell's whiny Pam Bouvier, this Bond could have been one of the instant greats, instead of one that is better appreciated with age. The movie is not perfect, but a lot of what works now in the series got its start in Dalton's last mission as James Bond.

If there is one thing that I've learned from Stephen Spielberg, and George Lucas it's that the easiest way to win an audience is to employ an antagonist that everyone hates, like the Nazis, or Stormtroopers. Producers Richard Donner and Joel Silver take a lesson in the first sequel to Lethal Weapon and pit Gibson and Glover against fascist dimplomatically-immune South Africans.

Another example of the explosive imagination that Miyazaki has. The world of the movie looks to use early 20th Century technology, yet it's filled with these giant airships and flying cities. There's a giant, yet lovable, robot that instantly becomes one of the most memorable characters in the film. Combine all of that with an excellent and memorable Joe Hisaishi score, and you have a jewel of animation.

Cannibal Women In The Avocado Jungle Of Death would be one of those B-movies that has a message to get across, and it does so with a few actors and a script that's surprisingly well thought out, if to a cornball degree.

Unlike The Fly, You probably won't remember much of this after seeing it, and when a movie boasts as being no better but equal to the original, you can be pretty sure it isn't.

What you don't expect is for the monster to look like (and be as harmless as) a hermit crab on steroids.

Hellbound is gorier, larger, and more accessible than the first. It rehashes the original at the outset so people can grasp it whether or not they'd seen the first and as a result is an easier film to enjoy.

Partially filmed on location in Chicago, the movie benefits from a snowy, urban setting that gives it a very different feel from most films in its genre. Hicks and Chris Sarandon (as the cop who killed serial killer Charles Chucky Lee Ray in the first place) are solid actors and brought a nice adult presence to the story.

Danielle Harris deserves a lot of credit for her work in Halloween 4. It's hard to find truly believable child actors in general, and in the realm of a film like this, it's easy to expect the worst, yet she is very credible and relatable and took an idea that probably had some fans cringing -- a little girl as the hero of a Halloween sequel! -- and made it work.

It's a by-the-numbers variation on "The Monkey's Paw" coupled with a revenge flick. What makes the film worth seeing is not the story, the production values, or even the work of a truly underappreciated character actors like Henrickson. It's an eight foot tall demon ripping people to spare parts.

Outside of viewing the film as a child or with a group of pals on drunken Saturday night, watching a bunch of loosely stringed sequences of Killer Klowns attacking townsfolk only gets you so far. It's a fun picture. But nothing more.

Frank LaLoggia's 1988 film scared the living hell out of yours truly with its singular combination of hometown horrors and operatic tragedy.

While it's the characters that make the movie memorable, it's their actions that make the movie a classic. Filled to the brim with eye-popping stunt and action sequences, the movie is a thrill a minute romp that rarely lets up.

Despite this flaw, fans of the first film will still find things to like in the sequel.

The story itself is timeless and almost always funny. Of the many road trip comedies out there, Planes, Trains and Automobiles ranks among the very best.

The film works, thanks to a surprisingly fun cast, but its best not to take things too seriously and just enjoy the film for what it is -- a brilliantly madcap slasher send-up.

If you enjoy good horror or vampire flicks, Near Dark is one of the best.

The film paints a nostalgic portrait of the fears we all shared as children - the common knowledge that when our parents left the room, the monsters under our beds - or locked inside our closest - started to shift and scratch; that our only friend in the midnight hour was the nightlight in the corner of the room.

I'm not going to lie to you here, this movie is a steaming pile of you-know-what. The acting is horrendous, the story is the most cookie-cutter clone of every movie after Star Wars as you can get, and the effects are downright laughable. Even an easy effect such as a laser blast looks bad here.

You may not like Timothy Dalton as Bond, but the fact is they could put a trained seal in the role and the movies would be basically the same. And by those standards, this one is pretty good.

So, to sum it up, Superman IV: The Quest For Peace is only slightly better than being trapped in a bear hug with Jan DeBont, and several steps below having an esoteric conversation with the Ghoulies.

Working from a script written by original helmer Romero based on a trilogy of lesser works by King, Creepshow 2 is a satisfying little anthology of terror that won't scare you so much as entertain you.

I wholeheartedly love Evil Dead II. It's a great midnight movie, and one of the best horror-comedies ever made.

If you're a fan of revenge fantasies, The Wraith will likely whet your appetite even if it isn't the smartest or best film out there.

Stand by Me is easily one of the best Stephen King adaptations and one of the best coming-of-age stories ever made.

Overall, Creeps is witty, it's scary, it's gory, and it includes a number of one-liners that many film-fans still quote today, though none will ever be as memorable as: "The good news is…your dates are here. The bad news is…they're dead."

As a piece of film history, Transformers: The Movie is pretty weak. But as an entry into the lexicon of popular Eighties culture, the Transformers phenomenon is on par with Matchbox cars, G.I. Joe and (at the time) queen Barbie herself. Long live Optimus! Long live Transformers!

There's something kitschy about Howard the Duck that makes it fun to watch. It tried hard and provided you're not a huge stick in the mud, there's something in this movie for everyone.

Some of it is a bit too goofy – I could do without the overly slapstick antics of the goofy paintballer who finds out a paintball gun is not much use against Jason – but the comedy is still an appreciated aspect of the film, and it's nice to finally have a Friday the 13th film where someone says they've seen enough horror movies to drive away from the scary guy in the mask standing in the road.

The movie is not Oscar caliber by any means. The acting is spare and without much passion.. Sure the movie is worth one or two stars at best. But it's a hell of a ride nonetheless.

As is often the case, what makes this film so enjoyable is the cast.

Enemy Mine is one of my favorite sci-fi films.

It's a strange, hypnotic, completely fresh vision, not of the future per se, but into Terry Gilliam's own mind.

Be sure to watch the film all the way through the end credits for a clever post-credit cookie (a rarity for this era).

For those who enjoy indulging in an exciting, moody, stylized cop drama molded from the best of templates and carved out of '80s pop art, To Live and Die in LA is a truly great way to spend an evening.

The script is very clever, funny and tightly written, and manages to avoid almost every horror movie cliche.

The movie has a much more open feel than Argento's other films and offers an interesting counter point to his work. The film also exercises Argento's effects work. There are several great scenes where a swarm of flies comes to Jennifer's rescue.

It's funny. It's sad. It's imaginative. It's great sci-fi, and terrific family entertainment. In short, Back to the Future is brilliant.

Well written, well made, well acted, St. Elmo's Fire is a quintessential film about the strange middleground between youth and adulthood.

Cocoon has its flaws, to be sure, but it's an ambitious, visually stirring piece of sci-fi drama. The performances from the cast (both young and old) are terrific, and visual effects are quite gorgeous.

Big ambitions inspire great designs; little things bring them to life. Nausicaa has both in abundance.

I was at least able to follow the plot (which is not to say it wasn't as ludicrous as any Bond film -- just that I could follow it). But most of all this movie has camp value -- it's fun to sit there and make fun of every last detail, and that redeems it quite a bit.

Directed with a threadbare and minimalist style by producer Charles Band, Trancers is the ultimate science fiction cult classic.

With Private Resort, I guarantee you'll be laughing well after it ends - and if you do it right, your chuckles will probably have precious little to do with the film itself.

The end result here is comically entertaining, but entertaining nevertheless - although if you are conditioned to enjoy only those very complicated scenes from newer movies this might be laughable in a less enjoyable way.

If you're in the right mood and watching with others who can appreciate the art of a bad movie, A New Beginning is somewhat of a laugh riot.

The movie is simply luxurious: huge, ornate stage settings; bright, colorful circus like street scenes; gorgeous costumes. [2002 Director's Cut]

Even if it doesn't quite stand with the 36th Chambers and King Boxers, Last Hurrah for Chivalry is a very good movie, both because it features a great many well-executed fight scenes and explores the early days of Woo's cinematic style.

Conan the Destroyer is not an awful follow-up, just a mostly unnecessary one.

Watching the film takes some patience. You have moments where there's 10 seconds or more of silence in between dialogue. When it gets violent, it's not the psychotic glee we're used to from Quentin Tarentino and his acolytes, it's simply the way things were in that life, unvarnished and brutally honest.

Directed by Barry Levinson (this was his sophomore theatrical feature following Diner), the film is quite moving. Redford delivers a great, soft-spoken, naturalistic performance and he's paired with a solid all-star cast. Randy Newman's score is absolutely terrific, too. One of the best he's ever done.

No, it's not the final movie in the series, but it's the end of a particular era for Jason, and it's a good way to go out for the hockey masked killer.

Michael Douglas and Kathleen Turner are wonderful together. They look great when they're in bed together and they look even better when they're fighting. Throw Danny DeVito into the mix and you've got a very enjoyable, watchable trio of heroes.

There are too many classic moments in this film to possibly count, and I won't even bother trying to quote lines or describe gags.

The movie is predictable and formulaic and all of those things, but it's great in spite of itself.

The cast (including Brooks, Anne Brancroft, Christopher Lloyd, Tim Matheson and Oscar-nominee Charles Durning) does their best to keep the laughs flowing.