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.