Disappointing effort from Siegel, although not without some interesting philosophical "hero-antihero" questions.

The pace is brisk and the details are carefully arranged, but there's no sparkle -- and what's a romance without that?

Fitzgerald's unfinished novel transfers awkwardly to the screen but is saved from oblivion by that always-fascinating actor De Niro, who essays the role of the movie mogul (based on MGM's Irving Thalberg).

The plot is more of the same old running and screaming, but Weaver is worth the price of admission all by herself, which is just as well in light of the less-than-fleshed out characters by whom she's surrounded.

Well-crafted and competently acted, Kill Me Again is anything but a terrible film; however, like so many other films that have struggled mightily to pay homage to the great films noir of the past, it fails to come to life on its own terms.

The film falls short even as a record of Broderick and Lane's crowd-pleasing rapport: Both have done the show so many times that every scrap of life is gone.

An enjoyable pastiche of martial arts, romance, music, and video, THE LAST DRAGON presents a likable young hero, Leroy (Taimak), who aspires to become a kung fu master.

A series of meaningless adventures punctuated with a lot of clanky, very bloody swordplay, Conan the Barbarian is best remembered for a scene in which Schwarzenegger punches out a camel.

Although the film fails at a number of levels, most acutely in never making us care much about any of the characters or their problems, it possesses a loopy charm that makes it a pleasure to watch.

In fact, it's often genuinely funny--but it's still an establishment picture pretending it's not.

Formulaic fun, helped by two winning leads.

Clichés negate bona fides; hence, the movie feels like a corny Mickey Rooney/Judy Garland vehicle with cussing. That said, the tapping is fabulous.

Characters are undermined by the inexpressive animation that mars the majority of animated films: Their haunted inner lives are clearly meant to take center stage, but their faces are blank and two-dimensional.

If this pairing sounds like movie magic to you, we're sure you'll love the picture.

Formulaic to the core, this reworking of the fondly remembered high-school slasher picture works surprisingly well on its own terms.

An ambitious and sometimes-incisive look at the inner workings of an Italian-American family.

It's actually a sweet, often very funny story about a schlemiehl redeemed by love.

Sumptuous production values and fitfully impressive choreography notwithstanding, Newsies was a major misfire for Disney Studios.

First-class stunts, fine photography, and solid acting by Weathers and Vanity combine to lift this action film above its ludicrous story. Had the filmmakers not undermined the project with inane plot twists, unexplained motives, and absurd coincidences, this could have been a real winner.

Well-made but often-boring.

An updated version of the more gritty original, given an inappropriately lush look by director Zeffirelli.

Part of the problem is its length; at two hours and ten minutes it meanders rather than building up a head of steam and barreling straight through logic and plausibility on the way to Hell.

While the subject is potentially fascinating, Gosling's unfocused, sluggish film is a case study in missed opportunities.

An uneasy mix of frat-boy yocks and "Twilight Zone"-style science-fiction.

There are poignant moments in this apocalyptic "what if" exercise.

By recreating things too well, the film itself becomes as boring, indulgent and over-stuffed as its hero.

Although Benton's plentiful homages to Alfred Hitchcock are well handled, the major problem with this talky picture is that there's plenty of suspense but not enough mystery.

Well-written and surprisingly well-acted by a relatively inexperienced cast

The entirely computer-generated Hulk is a surprisingly expressive creation — it certainly gives a better performance than Connelly — but the action is late in coming and feels like a long set-up for the inevitable sequel.

The huge cast seems to share in the sense of confusion, and what might have been an excellent treatment of an important story merely falls flat.

Basically, the feeling one gets is that there was so much musical material left from THAT'S ENTERTAINMENT! that they just threw the rest into PART II, and then decided to expand on it with comedy and drama in order to be able to show The Marx Brothers, Greta Garbo, and others.

Director Moshe Mizrahi (best known for his 1977 Oscar-winning feature, MADAME ROSA) fails to make much of the narrative's potentially fascinating time and place, other than throwing out a couple of token observations about British colonial rule.

The banality of faceless evil isn't actually all that compelling on the hoof; the film's more interesting as a curiosity than as a film.

Grisham's characters are rudimentary, and both Roberts and Washington are stiff and over-earnest.

The pre-credits sequence, featuring a variety of old-school snack treats performing a speed-metal number about courteous movie-theater behavior, is flat-out hilarious and deserves to be played before all R-rated films.

Though Kiser makes the zombified Bernie equally funny, WEEKEND AT BERNIE'S II spends too little time with him, and too much getting bogged down by subplots: two mob pawns' bumbling attempts to steal Bernie's corpse; Hummel's tailing Larry and Richard through St. Thomas, only to be arrested time and time again; Larry's failed romance with an island native whose physician father is, conveniently, versed in black magic; and Richard's being poisoned by the voodoo queen.

Fifth entry in the "Dirty Harry" series, a definite step backwards from the fascinating and ultimately disturbing progression of Eastwood's character in Sudden Impact.

There was little room for Hitchcock's usual humor here, nor is there even much suspense.

The Japanese sneak attack that plunged the US into WW II is lavishly and fairly accurately, if not enthrallingly, brought to the screen in this Japanese-US coproduction.

The movie was a misfire despite the presence of many of filmdom's best talents. Diamond's adaptation fails to provide any new wrinkles to the tired plot and Gene Saks's direction is only as good as the material he's been given.

Still passable popcorn fare, even if you'll barely taste it before swallowing.

The third Star Trek film is not as good as the second, but it's reasonably entertaining fare for non-fans.

An odd blend of recycled American exploitation movie tropes and snarky Euro-art film attitude.

This one combines elements of AMERICAN GRAFFITI, GREASE, and PORKY'S with a liberal dose of TV's popular sitcom Happy Days.

Some of the humor is pretty raunchy (there are quite a few sex-related scenes and jokes) and tasteless. Adults old enough to appreciate the choice electro-boogaloo soundtrack and get the "Mr. Roboto" jokes will doubtless find the rest of it painfully dumb.

Surprisingly cohesive.

It's only too bad nobody lectured the producers about creative cowardice. If someone had, Another 48 Hrs. might have been another good movie instead of just another damned sequel.

This follow-up to THE MUPPET MOVIE and THE GREAT MUPPET CAPER is not as good or as hip as its predecessors, but the Muppet gang remains fairly charming.

Van Bebber is out to capture the mood of a generation-long bad trip and succeeds with unnerving accuracy by telling the story within the family circle.

The cast is quite good. Richardson is so compelling as Hearst that she manages to transcend the mishandled material and create a character that's much more real and stimulating than one might otherwise have imagined.

POSSE remains no more than a pleasant genre diversion with unrealized ambitions.

All the segments are technically polished, but none offers much substance.

Too daft by half -- it might have been better if Ken were less loony, especially because his nuttiness verges on implying that loons love large women -- but supremely good natured.

The title of the film is most unfortunate because it gives no indication of the film's stark theme. Moreau is good as the disenchanted woman, but Mann is less effective.

Amusing if slightly bland comedy in which Colbert and MacMurray uproot themselves from city living after MacMurray decides he can't stand the brokerage business.

Ultimately, aside from the valiant efforts of pros like Elizabeth McGovern and the effortless Bill Pullman, The Favor is virtually indistinguishable from recent direct-to-video exploitation comedies

This is a thoroughly conventional story of one man's search for redemption in the neon slime; its multiple flashback structure is just a way of parceling out information, not a device used to undermine the narrative.

Despite considerable production support and a relatively high budget (it was shot on location in Ireland and on a massive interior set at England's famed Shepperton studios), this is easily the weakest effort in director-screenwriter Jordan's solid career.

The third teaming of Redford and Fonda (after "The Chase" and "Barefoot in the Park"), HORSEMAN falls far short of what it might have been, starting out smart but getting sloppier and more sentimental as it goes along.

Director Mike Hodges and screenwriter Trevor Preston's dark revenge tale strips its crime-story cliches of their hopped-up energy and seedy glamour, leaving nothing but sordid sadness.

Swank is painfully uncharismatic, leaving Christopher Walken, in the minor role of occultist Count Cagliostro, to decamp with any scene in which he appears. His performance may not be historically credible, but it's hugely entertaining: Would that the same were true of the film overall.

Throughout the film, doors slam, windows shatter and poor, battered Betsy wakes up screaming with tiresome regularity; even Sutherland appears bored by it all.

Feels less like a movie than a lost episode of the old Steve Allen or Jack Paar late-night chat shows.

Zentropa is as muddled as it is stylized.

The movie is a succession of shticks--which, when they succeed, are very funny. Unfortunately, not all of them succeed.

Preachy and predictable, an afterschool special in all but name.

The humor is too adult for children and the plot far too childish for most adults; in fact, everything about the film is really too silly to warrant much consideration.

If not exactly dull, Hopkins' stream-of-consciousness rant is nonetheless self-indulgent and crammed with bits of business that never add up to anything much.

It's visually intoxicating, with its lavish ruffs and furbelows, stately homes and manicured gardens, jewels and silks and elaborately curled hair, but there's less to ORLANDO than meets the eye.

The film LOOKS great, but at a brisk 88 minutes, there's no time to fill in back story, from the epic history of paladin persecution to the deeply personal mystery of David's mother, and the cliffhanger ending is so abrupt that the movie seems bizarrely truncated.

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

Though written by Wes Craven and his son, Jonathan Craven, this is pretty standard stuff: A lot of creeping through dark tunnels with just enough characterization to help you keep track of who's still alive, but not enough gore to really satisfy fans of Aja's bloodbath.

This modern-day hybrid of "The Prince and the Pauper" and "The Parent Trap" is a slickly contrived showcase for the professionally cute Olsen Twins, late of TV's Full House.

Mississippi Burning is visually splendid. Director Parker and his crew have created a film that is unquestionably watchable. As a history lesson, however, it's laughable.

Elvis Presley again plays a successful racer in this, his 27th film.

It's hard to say whether the Wachowski brothers' live action take on the Japanese Speed Racer cartoons is more irritating because it looks like a Hot Wheels video game or because the brothers seem to think that there's a powerful family drama humming away beneath the flashing lights and spinning wheels.

It's a mainstreamed, big-screen version of the bowdlerized, endlessly syndicated version of the show, not the raunchy original.

To make up for the lack of real story here, director Sydney Pollack shoots endless travelogue footage in soft light and pleasing colors. The movie is not drama and far from a compelling romance.

Swings wildly between heartstring-tugging melodrama, testosterone-fueled action and buddy comedy.

Though handsomely mounted, this parable of intersecting destinies and implacable tragedy is as lifeless as a wax tableau.

A surprisingly assured directorial debut that is hampered only by a weak script.

All the right intentions but never overcomes the essential problem of showing what's going on inside people's heads.

Though technically efficient, convincingly acted, and having a number of subtle messages, Swiss Family Robinson was still a hefty loss to RKO.

There's way too much CGI gadgetry, some inventive, much simply flashy in the worst kind of video-game way. The kids are nearly lost in the glitz.

Gosling is the film's salvation: He really is good enough to make this underwritten fantasy feel as though it amounts to something. But it doesn't.

Cusack makes a half-hearted attempt to connect with Coleman, but chemistry is fatally absent and small wonder: Dennis is a unsettlingly strange creature who could well be from another planet.

It's all about action and ogling -- Jolie's boobs, butt and thighs get so much screen time they deserve their own credits.

There isn't enough by way of a story here to keep director Rosser Goodman and writer-star Brent Gorksi earnest but lethargic drama about a romantically stalled Angelino from petering out as well, but some decent performances from the likeable cast may be enough to hold your interest.

Forget about social significance, depth of character and complex thematic underpinnings, and repeat after me: "It's only a werewolf movie."

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

Cushioned by money - which frees him from needing to work and allows him to fly around the world looking for his past - Bruce is attractive and well-spoken but not especially interesting, which leaves a yawning void at the story's center.

Performances from the two principals are as developed as the frequently convoluted script allows them to be.

Impressively stylish but curiously empty.

It all feels like an insubstantial short that's been stretched to the breaking point.

Contains striking moments, but never coheres.

Although the first hour of BAND OF THE HAND is fairly engrossing as we watch the rowdy, explosive teens slowly discover self-worth, respect for others, and teamwork under the stern guidance of Lang, the rest of the film dissolves into a teenage DIRTY DOZEN that seems to condone and encourage vigilantism. Major conceptual problems aside, BAND OF THE HAND does feature a solid performance by Lang.

Their mania might be funny if it weren't so creepy.

The supersonic jet takes center stage, sparing audiences from most of the babbling of the two-dimensional characters.