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.

It is by no means an “easy” movie with its somnambulant pace being a significant drawback. However, the movie has qualities that make it hard to forget and, on that basis alone, it is recommended viewing material for anyone serious about film.

The film is far from perfect - the soundtrack occasionally chooses the wrong songs, there are times when the acting (especially by the supporting players) falters, and there are scenes (most of them throw-ways) that don't work. Aside from jump-starting so many promising motion picture careers (including Crowe, Heckerling, and members of the cast), Fast Times will always be remembered for one thing: showing respect for and insight into the members of its core audience, something that was as rare in the 1980s as it is today.

The Last American Virgin tries to inject some honesty and emotional depth into an otherwise silly and raunchy storyline. Its success is mixed but that element at least makes it more interesting to watch than at least 75% of its contemporaries.

The story is simple, as befits a movie that's more about visual flash, technical bravura, and ideas than plot and character development. TRON turns into an action-oriented endeavor, with characters attempting to make their way through the video game inspired landscape of the mainframe to the goal that will achieve victory.

A paranoia-choked atmosphere is the primary reason why The Thing works as well as it does. The setup is standard stuff, establishing that the characters are isolated and can expect no help from the outside. The realization there could be an alien among them, and any one of them might not be human, is what launches The Thing into a spiral of escalating tension.

Blade Runner is a rare science fiction movie so full of material that pages can be written about it without scratching the surface. A review like this can provide little more than an overview. A detailed exploration of the movie, its style, and its mysteries requires dedication that only someone immersed in Blade Runner lore can provide. Currently, the film is available in the United States only in the director's cut. Warner Brothers, however, has promised an exhaustive box set next year with multiple versions. It will be interesting to see whether those editions offer new insights or expand upon the film's already rich tapestry.

Spielberg has always shown a penchant for overt manipulation, but nowhere is this more obvious than in E.T., where he pulls out all the stops in an effort to bleed tears from the eyes of every audience member. It doesn't take a cynical nature to recognize what the director is doing. [2002 re-release]

The Wrath of Khan is a top-notch, fast-paced adventure that can be enjoyed equally by fans of the series and those who have never seen an episode.

Mad Max 2: The Road Warrior is a straightforward action/adventure film, filled to the brim with over-the-top chases and stunts.

Those who have an inherent distaste for this sort of entertainment will appreciate Conan the Barbarian's impeccable production values without enjoying the story; most everyone else will be swept away by the film's spectacle.

There's barely a whiff of melodrama in Chariots of Fire, which makes the film-watching experience all the more effective -- director Hugh Hudson shows respect for the integrity of his material and the intelligence of his audience. The absence of mawkish moments provides the narrative with a genuine quality that supports its factual background.

Takes all of the drama and suspense inherent in a submarine-based story and delivers it in a near-perfect package, establishing Das Boot as not just a terrific adrenaline rush, but one of the best movies ever made. [Director's Cut]

The blend of quick-moving adventure, familiar faces, lowbrow slapstick, highbrow wit, and visual style offers more than one thing to just about everyone. And, with an ending that mocks the idea of happily ever after, Time Bandits concludes perfectly.

As slasher movies go, Halloween II is far from the bottom of the barrel, but, given its pedigree, one has a right to expect a higher degree of quality that what is delivered.

The transformation sequences on their own are disturbing enough to upset sensitive viewers (even though the first one doesn't occur until an hour into the 97 minute film, making the first two-thirds of the movie relatively tame, with the exception of a few appearances by Jack, who looks like a "walking meatloaf").

Escape from New York isn't really science fiction -- it's an action flick set in a futuristic setting. Epic potential for a masterful, gripping tale is abandoned in favor of cheap thrills.

For Your Eyes Only is a solid adventure, although it could have been better. There's enough action to hold those with even a short attention span, and Roger Moore's deft charm hasn't yet begun to wear thin.

Superman II delivers on the promise hinted at in "Superman." Which is the better film? That's a hard choice to make, since both succeed in different ways.

Has all the right ingredients: a smart script, a likable hero, a dash of romance, more than a touch of comedy, and a lot of fast-paced action.

Despite its general failure, some scenes from Clash of the Titans remain memorable. Chief among them is the duel with Medusa, a scene that ripples with tension.