With a wholly derivative concept, confused scripting, and incredibly sloppy direction, THE RUNNING MAN is a frustrating experience.

The film is talky and much of what is said is didactic, but it is never really preachy. Washington brings tremendous intelligence, dignity, and charisma to his Biko. Kline is also very good as the editor who goes from talking a good liberal game to living it, giving up virtually everything so that he can make the truth known about Biko.

No one was exactly clamoring for this one, and Bronson has vowed it will be the last Death Wish.

Cryer does an admirable job of pulling off both ages, and Coogan is even better just playing one. Director Bob Giraldi gives it all a good deal of energy, especially in the first part, shot in a gray and ominous New York that takes on new menace under Giraldi's slick visual style.

Loosely based on the novel by Bret Easton Ellis, LESS THAN ZERO refuses to take the risks necessary to capture the keen social observation of the book.

Though the action is competently staged, there's little else in this film to hold one's attention.

All the characters are cardboard, and the actors fail to bring anything extra to their roles. Simply put, this is just a bad film.

Matters become increasingly contrived as the film collapses in exhaustion from thematic overload. Still it's a fairly impressive achievement as a whole.

An exciting mix of science fiction, cop thriller, and buddy film, The Hidden is one of the most exciting and unique genre hybrids.

Sweeney's seduction by the good life and the friendship that develops between these two young men from opposite sides of the tracks and on opposite sides of the law has the makings of an intriguing story. However, director Peter Werner and scripter Dick Wolf treat their story conventionally, and there are few surprises. NO MAN'S LAND's saving grace are the performances by Sheen and Sweeney.

Despite some plausibility problems, the movie is well handled by director Peter Yates. There is no question that Suspect is capable of putting a lump in one's throat; the problem is that it's a little hard to swallow.

Not a film for everyone, but the unrelieved squalor of Barfly offers its own peculiar fascinations.

Ultimately it's all too predictable.

The rockabilly killer is probably the most entertaining slasher ever to grace the screen--sort of like Elvis Presley playing Norman Bates, complete with musical numbers. Usually it's no mystery why some films go straight to video without theatrical release, but this movie is far above the caliber of most straight-to-video releases.

Mamet has created a suspenseful, psychologically complex film that constantly plays tricks on the viewer as it draws him into its milieu of insightful deceit.

Obviously aware that he was hung out to dry with an awful script, director Phil Joanou tries to make up for this handicap with some startling camerawork. Much of it is overdone, but the result is one in which Joanou's visual style transcends the vapid script.

Much of the credit for what works in the film should go to the excellent cast. Berenger is superb, and Rogers proves here that she can handle a lead role with class and aplomb. Bracco, however, steals the picture with a refreshing energy and wit.

Bigelow, who codirected THE LOVELESS with Monty Montgomery in 1982, and coscreenwriter Eric Red (THE HITCHER) demonstrate a keen understanding of the history of American cinema and create a unique film that explores the conventions of the vampire movie while moving it from dank European castles to modern-day Southwestern America.

LIKE FATHER, LIKE SON is idiotic at times, cute at others. Cameron shows a lot of charm, and the movie is a pleasant diversion.

The main attractions here are Greenaway's densely textured compositions, each one a triumph of symmetry and design.

A hilarious mixture of Errol Flynn swashbuckler and Monty Python send-up...When it comes to pleasing both kids and adults, you can't do much better.

Despite all the props, costumes, and music, the film conveys no feel for the city, the period, or the seedy gambling milieu.

Wearing its patent ridiculousness on its sleeve, this slight but generally agreeable comedy integrates the Airplane/Top Secret school of non-sequitur comedy into a less explicitly parodic buddy flick.

At its best, the film is moving and thought-provoking, but at other moments it is unintentionally silly. It is not the story but the telling of it that is the problem; at 140 minutes, Maurice simply goes on too long.

This story of an extramarital fling that turns into a nightmare begins as a well-crafted psychological thriller but degenerates into a misogynistic thrill-fest in its closing moments.

The film is carried by Downey, appearing in his first starring role. Ringwald, while performing adequately, just doesn't seem right for the part. Toback has devised an interesting premise that draws parallels between risking one's heart and one's wallet, but the picture itself risks little.

The basic problem is that most of the humor is based on things that are beyond parody. Bad television commercials and lame low-budget films are funny enough as they are; exaggerating their ridiculousness is unnecessary. What is successful is the painstakingly accurate recreation of everything from the commercials to the title skit. The talented filmmakers demonstrate that they can handle a multitude of directing chores, and, although the scripting may lack imagination, the visuals are handled quite well.

This lackluster tale of redemption has violence aplenty and an undercurrent of humor.

A competent, if unremarkable, espionage thriller that is enjoyable while it lasts and forgotten moments after the credits roll.

Time will eventually reveal that HAMBURGER HILL is one of the best and most realistic films made about the Vietnam War.

Matewan is beautifully shot, and there is not a weak performance in the film. Jones is a tower of dignity; Cooper is the epitome of quiet strength; and Oldham glows with the passion of a zealot, first for God, then for the union.

The first film featured George Wendt from TV's "Cheers"; this time around, they tapped the same TV show for John Ratzenberger.

One problem with the film is that it does nothing to endear the Catskill social setting to an audience; the inhabitants seem to be competing for awards in obnoxiousness.

A stunningly inept and totally reprehensible film.

Colorful Cajun noir, spicy, romantic, efficient.

This is a surprisingly heartfelt film from Marin, miles away from the mindless drug humor that infected his efforts with Tommy Chong. The film offers some genuinely tender moments as Marin uses Robles situation to explore the plight of Mexicans who long for a better life.

A worthy remake of the film noir classic THE BIG CLOCK, NO WAY OUT adds, among other things, a delightfully subversive twist ending. Good performances from a strong cast.

The problem with Can't Buy Me Love is that too often characters do and say things teenagers wouldn't. At times this is a funny, touching film, but more often it isn't.

This second feature from director Fred Dekker is a poorly paced and haphazardly scripted horror-comedy that is neither scary nor particularly funny.

Director Arthur, who struggled for eight years to get this film funded, claimed that her right to final cut was revoked by the producers and that they trashed her version and released what she describes as a more exploitative cut.

Less pretentious than John Milius' Big Wednesday, North Shore is pleasant enough but not very engaging.

There are some decent special effects, but overall it's about what you'd expect from a movie inspired by a line of toys.

Much could have been done to enliven this film if the script provided more satire instead of parading the same inanities with a smirk this time around. It's harmless but in need of a transfusion.

Though filled with witty lines, fast-paced overlapping dialog, and screwball situations, this film too often sinks to Police Academy-style stupidity. The only reason Who's That Girl works at all is because of Madonna and Dunne.

Strictly for small children, this animated feature will bore anyone over the age of puberty. It might also enrage anyone with a knowledge of movies as it poaches many other pictures.

This movie marked a virtuoso return for Dreyfuss, who is captivating in his role.

Part horror, part comedy, THE LOST BOYS is a vampire thriller that brings some interesting twists to the genre, but is nearly defeated by director Joel Schumacher's heavy-handed efforts to bring an MTV-like sensibility to the traditionally gothic material. Despite its flaws, however, the film is an interesting addition to vampire cinema.

Director John Glen is an old hand at James Bond films, having worked on three other 007 movies. He knows this popular spy well and does him great service in this well-paced film.

The film is rich with period flavor, and Phillips is superb as Valens, but the rags-to-riches story (even if true) is maudlin and overfamiliar.

The first few films in this series are both amusing and produced with high technical values, but this fourth in the string is a poorly scripted, anemic production.

Another failure in Harmon's attempt to move from TV to the big screen.

A first-rate production full of nonstop action and inventive special effects but what truly makes Robocop spellbinding is a superior script.

Even the special effects are lame in this one, offering a latex shark that is about as realistic as a fake goldfish. Poorly directed by Joseph Sargent, who relies heavily on blood and fast editing to create tension since there certainly isn't any written into the script.

Although there are some slow sections, RITA, SUE AND BOB TOO! provides a number of good laughs and also more than a few empathetic winces.

Most of the jokes are either ethnic slurs, homosexual japes, or unfunny gags with not a shred of wit. Babes and brewskis are just not enough to carry an entire picture.

Plays no better than a bad after-school special. None of the characters is the least bit sympathetic. Just what audience the filmmakers were aiming at is a mystery, though the movie may have therapeutic value as an anaesthetic.

Lots of laughs; some fine darts tossed at fascism, southern California customs, and the USA in general; a tongue firmly embedded in the cheek; and a fairly good score all add up to make this a sleeper...If your sense of humor has the slightest warp in it, you may thoroughly enjoy SURF NAZIS MUST DIE.

Formulaic fun, helped by two winning leads.

A perversely fascinating movie--one that answers no questions, offers no hope and has little meaning. In a way this is perfect for what the film has to say about war, but you find yourself numbed and apathetic as the film progresses.

Director Tom Mankiewicz brings little innovation and no surprises to Dragnet. It simply doesn't come off, and the viewer will be left with an empty feeling, a vacuous notion that somehow the laugh scenes slipped by unnoticed. They were never really there.

It's mostly forced humor all the way, a movie that rarely measures up to adequate kitsch. Aimed at younger audiences, Spaceballs misses its mark.

Martin makes his character amiable and downright lovable; Hannah shows a fire she hadn't demonstrated in previous efforts. In an era when romance seems to have taken second place to sex, it's heartwarming to see a film like ROXANNE bring back the loveliness of love.

A hilarious black comedy and already something of a cult favorite.

Crisply stylish and suspenseful, making brilliant use of optical special effects, Predator is one of Schwarzenegger's best.

While the film completely unravels shortly after the opening scene, there a few good performances (notably from Robert Loggia) and the gorgeous cinematography of Robby Muller to cling to as it sinks into a confused abyss.

Charming.

Fueled by an intense and intricate performance by O'Quinn, the movie is a fascinating examination of America's predilection for appearances over substance.

Although the concept of small dolls coming to bloodthirsty life sounds scary, its fear factor decreases rapidly after the initial shock.

The dialog is dumb, the acting is dull, the attempts at physical humor are for the most part predictable.

A wonderfully funny and creative film with a cornucopia of comical characters in absurd situations. These loony elements combine to offer some perceptive observations about human joy, fear, and passion for food.

For all the bad press Ishtar received, it does have a certain odd charm... The biggest problem is that any attempted subtlety is swamped by May's bid to turn the film into an epic adventure story.

This surprisingly effective low-budget effort from Canada plays on universal childhood fears, and manages to be scary without resorting to scenes of sadism or graphic bloodletting.

This generation's postpunk worldview is rooted in nihilism, detachment, and fear of nuclear annihilation--nothing matters to them except friends, rock 'n' roll, and getting stoned. River's Edge also boasts the best cast of unknowns since Francis Ford Coppola's The Outsiders. Reeves and Skye are superb as the moral centers of the film, Roebuck is great as the killer, and the supporting performances are also impressive. Glover and Hopper go over the top and get away with it.

Other than the unfortunate miscasting of Molina, an otherwise superb actor, and Wallace Shawn's grating performance, everyone else is right on the money. Oldman, fresh from his triumph as Sex Pistol Sid Vicious in Sid and Nancy, is the key and holds it all together.

Limping along on a scant plot, HOT PURSUIT succeeds largely because of Cusack's handling of his character. Loggia is always a pleasure to watch, even when his part is as mindless as it is here.

Unjustly underrated upon its release, GARDENS OF STONE is a quiet, respectful film filled with emotional power, exceptional acting (especially by Caan), and technical virtuosity.

Whereas Romero's approach to this material is distinctly tongue-in-cheek, Gornick makes the mistake of giving the stories a straightforward treatment that merely heightens their inherent weakness. Both pictures use animation to tie things together, though the cartoon work in both is weak.

Those expecting a reverent sequel to the King tale will no doubt be disappointed.

This one is superior in almost every respect to the first, with slam-bang action, many humorous moments, and an excellent performance by Steve James.

Not just another charming film about growing up, but an expertly directed tale that takes a small, simple subject and colors it with invention and inspiration.

A fierce and often compelling actor, Nick Nolte usually creates a riveting character, and when that character is coupled with a good film, the end product is something worthy of watching. Such is the case with EXTREME PREJUDICE, despite its abundance of violence.

There's practically nothing wrong with PROJECT X. Broderick is superb as always and proves that he is a commanding screen presence even in the company of a cute chimp. Hunt also turns in a fine performance. Surprisingly, even the film's bad guy (Bill Sadler) has some redeeming qualities, preventing the script from becoming patently simpleminded.

All the usual business canards and stereotypes are represented in this lackluster, witlessly directed production. Only Fox is worth watching, but his role is more suited to a one-act play.

There's not much to this empty-headed feature except that Sheen gives a commendable performance with what little characterization is provided by the lame script.

Director Jim Drake keeps things moving so quickly, one barely has time to notice just how stale the jokes here are.

Director Blake Edwards takes a sitcom sketch and blows it up into a witless feature film that relies on pratfalls and slapstick.

This film is really blatant right-wing propaganda loaded with a stunning amount of racial and political stereotypes.

Rarely has a film so ineptly directed produced so much intentional laughter.

Thanks to a terrific performance by Freeman and slick direction by Jerry Schatzberg, this is a fast-moving, intermittently riveting crime drama.

A deliriously cinematic experience for those with a taste for Grand Guignol, this is a relentlessly energetic nightmare world where quite literally anything can happen--and does.

Cage creates a homey and thoroughly likable character who earns the respect of the audience, but Hunter is the real surprise. Appearing in her first starring role, the stage veteran displays so much energy that she forces the audience to pay attention.

A mesmerizing odyssey through the mind of a uniquely talented performer, as well as through one of the gorier chapters of modern history.

Though much of the plot action is downright silly, Dreyfuss, DeVito, and Hershey offer wonderful performances, and director Levinson keeps things moving with some nice comic touches. As he did in his first film, Diner, Levinson again effectively uses a diner setting in which his characters are allowed to engage in some rambling but very funny dialogue.

First-time feature director-writer Kevin S. Tenney imbues his picture with a surprisingly slick sense of style and employs some clever camerawork when the narrative warrants it, refusing to bore the viewer with the endless evil-point-of-view shots favored by so many other horror directors.

Gibson is truly frightening as the cop about to go into orbit, and Glover is a standout as the down-to-earth lawman with very much to lose.

Angel Heart is a convoluted combination of film noir and horror that, although expertly filmed by director Alan Parker, seems more an exercise in flashy visuals than mature cinematic storytelling.

Stoltz turns in a restrained, realistic performance, and Thompson is quite good in what could easily have become a thankless role. But far and away, this is Masterson's film. An amazingly mature young actress, Masterson skillfully brings subtlety, depth, and nuance to her character.

As played by the classically trained Robert Englund, Freddy is a vital killer who brings a sense of creepy fun to his demented work — moviegoers actually like the guy. The nightmares themselves are another reason for the series' success. Seldom have films explored the nightmare world with such effect, style, and panache.