Even though Moore sleepwalks his way through the part, making it apparent that he should have departed two films ago, and Tanya Roberts can't act to save her life (although she certainly can scream), we're back to a more conventional, straightforward Bond than the convoluted mess of the previous movie.

The comedy in The Sure Thing is genial and unforced. Most of it develops organically out of the characters and their situations. It doesn't grate and it doesn't interfere with the evolution of the central relationship, and it's effective enough to provoke the occasional laugh or smile.

Eminently watchable and consistently entertaining...It has a candor that is unexpected and refreshing in a sea of too-often generic teen-themed films.

Witness states its position about clashing cultures with eloquence.

Almost paradoxically, 2010 may be unnecessary, but it is nevertheless a worthwhile effort.

If Superman was an eagle streaking across the sky, Supergirl is the result of that eagle’s bowel movement.

A Nightmare on Elm Street is tailor made for those who like their gore leavened with thought-provoking ideas - something that is a rarity in this genre.

It's a rousing science fiction story that proves an on-screen adrenaline rush.

Stop Making Sense is pure fun and sheer exuberance transferred onto celluloid and perfectly re-created at the other end. Experiencing what Demme and the Talking Heads have crafted with this motion picture makes perfect sense. [Review of re-release]

Arguably the best motion picture ever made about the process of creation and the creator.

While the sluggish beginning and ending mar this Star Trek outing somewhat, there's still enough here to please fans of the series, and, to a lesser extent, movie-goers in general.

Indy's companions are weak; we don't identify with them the way we did with Marion and Sallah. There's less action and more overt comedy, and neither change works to the benefit of the story.

Arguably the best baseball movie ever made. The film works not because it is flawless in its depiction of what transpires on the diamond (more on a significant mistake later), but because it captures the spirit of the game at a time when baseball truly was the National Pastime.

This Is Spinal Tap is virtually guaranteed to appeal to nearly everyone. The film contains everything from laugh aloud moments to scenes that will have even the most dry, humorless viewers smiling with unrestrained mirth.

Whether it works as a traditional motion picture is up for debate. However, it’s short enough (about 90 minutes) that it never overstays its welcome and is generally a fun, wild ride, even though it may at times be difficult to figure out where the journey began and where, as the 1964 Chevy leaves the streets like Doc’s DeLorean in Back to the Future, it ends.

A viscerally effective, fast paced thriller.

It's those moments and others and the way they are tied together by Shepherd's tongue-in-cheek narration that cements A Christmas Story as one of those rare must-see holiday movies, even for those who don't celebrate Christmas.

Unfortunately, Never Say Never Again is a poor excuse for the veteran actor's return. The humor is over-the-top, the direction is pedestrian, and the storyline drags. Were it not for the simple pleasure of seeing Connery playing 007 one more time, this film would have been nearly unwatchable. All things considered, it's not a very good movie, but at least Connery's charisma salvages parts of it. Unfortunately, Never Say Never Again is a poor excuse for the veteran actor's return. The humor is over-the-top, the direction is pedestrian, and the storyline drags. Were it not for the simple pleasure of seeing Connery playing 007 one more time, this film would have been nearly unwatchable. All things considered, it's not a very good movie, but at least Connery's charisma salvages parts of it.

Whatever goodwill the movie builds up during its first 85 minutes is thrown away in the idiotic, anticlimactic final ten.

Everything about Staying Alive is cliched: characters, story, dialogue… There’s not a single original or interesting thing to be found. Even the music is tired and, although Travolta evinces the same physicality he showed in Saturday Night Fever, the sense of joy is gone.

Under Lester’s aegis, Superman III loses its identity, never emerging as a true superhero adventure or a full-blown parody.

There's a fine line between wit and absurdity, and this particular movie too often falls on the wrong side.

The teaser scene is phenomenal. It depicts the escalating tensions that accompany being one of the men in the final chain that leads to a nuclear launch. In this case, it's just a drill, but the men (played by Michael Madsen and John Spencer) don't know that. They must confront the morality of obeying an order that could lead to a worldwide holocaust. It's a taut scene that is suffused with verisimilitude.

Cuteness is the watchword here. The dark, eerie atmosphere that oozed from every frame of "The Empire Strikes Back" is gone. Instead, for Return of the Jedi, we have good triumphing decisively over evil, a too-pat resolution to a love triangle, and walking teddy bears.

The extreme nature of the gore isn't beside the point - it is the point. Raimi goes so far over the top in presenting these displays that they take on a campy, almost humorous appearance. It's impossible to take all this blood seriously. So, instead of being sickened, we're strangely amused - and this is all intentional.

Local Hero is a fragment of cinematic whimsy - a genial dramatic comedy that defies both our expectations and those of the characters.

Tootsie works for three reasons: a sharp screenplay, good comic timing, and delightful performances.

The darker tone, somber subtext, and generally non-exploitative violence allow viewers to enjoy the film not only as an action/thriller but as something with a degree of intelligence and substance.