The movie belongs to Nelson, who displays a natural screen charm, but Rip Torn also contributes an excellent performance as a good ol' boy concert promoter.

Director Robert Benton effectively re-creates depression-era Texas in this moving tale that landed the second Oscar for Field.

An admirable attempt at a fresh version of an old genre, Teachers falls short, but not by much.

Full of the lush, confusing images one comes to expect in a Nicolas Roeg film.

This movie is a compendium of every element in every inane teenage movie you've ever seen. The only reason anyone would watch it would be if they were being punished or were suffering from a heretofore incurable case of insomnia.

Shyer's direction was on the money most of the time but was just a little flabby occasionally--perhaps because he cowrote the script with Meyers and hated to lose a precious word.

If you're a Martin fan, you'll love All of Me; if you aren't, there's still enough fun in spots to make it worth your time.

Despite several bad or indifferent performances, though, the film does succeed in its primary goal, to provide 90 minutes of fast-moving and fairly exciting action.

Buoyed by Morton's sensitive performance, the film proceeds as a series of vignettes, some of them unforgettable.

Enjoyable in a foolish way as Dickey performs amazing acrobatic feats while slicing up dozens of people with her sword. This film constitutes more slick exploitation from schlockmeisters Golan and Globus.

Amadeus is a must for any music lover, any film lover, or anyone who reveres excellence.

A good story and some good effects, but it's a subject that could stand a better, more defined script and more attention to the issues involved.

Bolero must rank as one of the worst major movies ever made. Many awful movies are at least funny in a campy sort of way. Bo and John Derek, however, make films so sincerely bad that they offer nothing in the way of relief.

A truly amateur production.

Kristofferson acts like someone who has just awakened and would like to go back to sleep--something many in the audience found themselves doing.

This is a sort of remake of A Yank At Oxford (1938) without any of that film's charm or humor. Lowe passes off arrogance as a cute personality quirk, and the whole movie plays like just another teen-oriented exploitation effort, replete with sex and booze.

Bruce Surtees' dark, moody cinematography is typically masterful, but its translation to video leaves some scenes a bit murky.

Made on a tight budget, the special effects are never very convincing, but the performances are all good. If you're willing to suspend disbelief, this is a neat thriller that's enjoyable from start to finish.

The only thing that redeems the film from total worthlessness is Connery's Green Knight, a frightening vision in armor.

This might have been a terrific movie. It has all the right ingredients: a beautiful woman in an odd situation, a background as colorful as any movie ever made, a script by veterans Lorenzo Semple and David Newman, and a historic comic strip. So what went wrong? Blame must be laid squarely on the shoulders of John Guillermin, who directed the movie as if he weren't sure if it was adventure, comedy, or camp.

Woo's career, LAST HURRAH FOR CHIVALRY gives fans of Woo's later work (A BETTER TOMORROW, THE KILLER, BROKEN ARROW, FACE/OFF) the chance to see him develop his expertise at staging action and telling stories of friendship, loyalty, and betrayal among a close-knit group of men.

Women are treated with little respect by director Wilder, while men are portrayed as bad little boys who mean no harm. The so-called farce is just degrading prattle that drags on much longer than it should.

Although the film plays a little too heavily on this patriotic theme, its simple boy-and-his-horse story is beautifully effective.

Cloak benefits from tight direction and the good humor of the Holland script. The addition of the dual role for Coleman (who's excellent in both) serves to highlight the relationship between father and son, adding another dimension to the yarn and almost relegating the spy plot from the core element of the story to mere diversion.

Another infantile right-wing fantasy from writer-director John Milius, this cinematic embodiment of the paranoid delusions of militarists, survivalists, and television evangelists is definitely a film for the Reagan era. Red Dawn is simply too simplistic and inept to be taken seriously.

Fans of innovative Canadian filmmaker David Cronenberg will recognize the emergence of his unique voice in this 1970 project, the director's second feature (following the 1969 Stereo).

Fascinating but thoroughly unbelievable.

It is a small film, with small, and at times cliched, ideas about rural life, but there is a sweetness about it that is an appealing and refreshing change from the usual roller-coaster films that bombard audiences in the summer.

Elegant, stylish, and ultimately boring adaptation of the James novel.

If you like Prince's music, you'll love this movie. If not, stay away.

The drug-addled duo of Cheech and Chong dropped all their chemical-inspired jokes for this film, but there are enough scatalogical, homophobic, and perverse sexual gags to fill in that gap...The film is a poorly structured mess with a few sophomoric laughs.

The difference between this movie and the original is Bill Murray, whose charm gave the first film its best moments and raised the mediocre plot into something mindless but sweet. Here the characters are stereotypes. Perhaps the only reason to see the picture is for Paul Reubens, who has a relatively minor part.

A bleak but mordantly funny portrait of three aimless characters who discover that paradise isn't such an easy place to find.

Director Wolfgang Petersen combines the elements into a charming film that is excellent for children and won't put any adults to sleep, either.

Try as they may, neither the cast nor the filmmakers can cover up the fact that this movie, like Moore's prototype, is a dud.

The story gets silly from time to time, stretching credibility to the breaking point, but the final result is an old-fashioned love triangle made new by the third party's being electronic.

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.

Clever, exciting, and fun, The Last Starfighter boasts good performances by Guest and Preston, and a literate, funny script that highlights the real story: not the space war that only Guest can win but the difficulty of leaving home, family, and security for a totally new life when the opportunity presents itself.

Despite the success of the movie, we turn thumbs way down on this melange of cheap thrills and flat jokes, saved only by the performance of Hanks and some good work by pal Zmed. Hanks is the only oasis in this Sahara of smut.

Burt Reynolds and a host of notable performers seem to be having a hell of a good time wandering through this meandering, episodic farce, but rarely is their good mood shared by the viewer.

Under the direction of veteran Fleischer, this superior sequel to the plodding Conan The Barbarian boasts much more speed, skill, and ingenuity than its predecessor.

Though shamelessly manipulative, it is undeniably effective. It offers some genuine moments of warmth, humor and excitement. Of course it all leads up to a big tournament where Fair Play has a showdown with Dirty Tricks. Guess who wins. This is the kind of movie where you find yourself cheering even though you know you're being hoodwinked.

Little works in this contrived mess, but by far the worst aspect of it is Roberts' over-the-top histrionics. The film tries hard to create a relationship similar to that of Harvey Keitel and Robert DeNiro in Martin Scorsese's Mean Streets, but the actors' performances are so out of sync that the effort quickly becomes hopeless.

Whereas the badly miscast Stallone never gets a handle on the material (albeit there isn't much to get a hold of), Parton manages to rise above the script and is appealing. The multiple costume changes that she and Stallone make, however, are no substitute for laughs.

The result is very much worth the wait, bringing to life the mysticism of Mexico with a superb script by Guy Gallo, exquisite photography, and the unparalleled performance by Finney.

With his deadpan delivery and snide quips, Murray more than holds his own amid the myriad state-of-the-art special effects.

Dante gleefully trashes cliches and sentimental Capra-esque notions, but one should not forget this movie was given a "PG" rating and cynically aimed to draw an audience of small children who would no doubt be terrorized by this myth-shattering film.

Doesn't always work, nor does it measure up to their hilarious AIRPLANE!. It is, nevertheless, very funny as it lampoons two genres: the spy movie and the teenage musical.

This energetic hip-hop musical barely supplements the large-scale musical numbers with its cliched plot, but it does capture a sense of the break-dancing craze and is more entertaining than most of the films made to cash in on that trend.

Vallone's production design is a knockout--the film is weakly scripted and scored.

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

This is Leone's gangster film to end all gangster films, a work of tremendous intellectual depth and emotional range.

The nonstop pace may eventually numb viewers to the thrills, although Spielberg must be congratulated for adding some shades of character to his archetypal action hero this time around.

Filmed with great visual style, the film looks terrific but makes almost no sense save for its "insider" references to such films noir as Jean Luc Godard's Alphaville and Fritz Lang's M.

Somewhat overly sentimental, lacking the novel's subtlety, and less interesting when the action leaves the ball park, Barry Levinson's beautifully shot film is nonetheless a charming fairy tale.

The premise is ordinary, but the film is distinguished by funny gags and excellent performances by Molly Ringwald and Anthony Michael Hall.

Dumb sex comedy...Not much here except loads of beautiful women in swimsuits.

The studio certainly needn't hire any brilliant writers; they have only to repeat the plot of the first film in every sequel.

Although hardly believable, the story is effective, making its rather unwholesome characters sympathetic.

Jonathan Demme's characteristic generosity toward his characters and refusal to make absolute moral judgments are strong points, while the feminist subtext adds freshness to the story.

The movie is a good idea, but a good idea does not always result in a good movie. The picture was miscast. Hutton is just too young to be believable as a man of science.

A loving, dramatic comedy that resembles early Frank Capra in its patriotism and sentiment, this movie just misses on several levels but has enough humor to make you smile and enough corn to warm anyone's heart.

It would have been better off if the casting were more believable, the acting more honest, the emphasis off the obvious sexuality, and the script destroyed before production began.

Although comparisons with Steven Spielberg's Raiders of the Lost Ark are inevitable, it is the interplay between Turner and Douglas that gives the film its real charm. Norman and DeVito score strongly in roles that would have been played by Sydney Greenstreet and Peter Lorre 30 years ago, and the whole film has the feel of an old Warner Bros. thriller with broadly comic overtones.

The most intelligent and perhaps the best filmic treatment of Edgar Rice Burroughs's classic pulp novels about Tarzan, the white child of noble blood raised by apes in the jungle, since Elmo Lincoln first brought the character to the screen in 1918.

In this slight film about two boys about to be drafted into WWII, everyone tries hard, but the movie is essentially superficial and has difficulty sustaining audience interest.

Mindless fun, though, if you don't look too hard at the effects and are willing to accept the wooden Urich as Errol Flynn or Louis Hayward.

Director Ron Howard has a good sense of the whimsical, and his film is sweet and unpretentious, though somewhat ribald when one realizes the studio from whence it sprang.

This dreary satire of the post-war American family has a small but devoted following. Writer-director Tony Richardson has constructed a complex screenplay based on an even more convoluted novel by John Irving. It's a fairy tale about virtually everything and, as such, will not satisfy everybody. The film is laced with blackly humorous takes on heterosexuality, homosexuality, incest, abandonment, Nazism, masochism--a veritable laundry list of contemporary neuroses.

One of the most original films of recent memory, with an edge of black humor and punk sensibility--wickedly funny, ceaselessly inventive, and never boring.

Not even a bravura performance from Woods, some steamy love scenes between Bridges and Ward, and a thrilling daylight car chase down Sunset Boulevard can pull this confusing remake out of the doldrums.

Hilarious pseudo-documentary spoof of a British rock group that was so on-target in its satire, many viewers took it for the real thing.

Benson is as annoyingly untalented as ever, and the film is definitely overlong, bordering on the dull.

Most of what goes wrong here can be blamed on the script, which provides little of the smart and snappy dialog needed to pull off a film like this.

Although the mystery itself is nothing special, Argento uses the narrative structure as a jumping-off point for his virtuoso murder sequences, which are incredibly well orchestrated and inventive.

There are a few sparkles of humor here, but this remake is an inferior product. Whereas Sturges played out his story with wit and flair, Howard Zieff's direction is flat and uninspired.

Boring, cliche-ridden teen drama looks nice and features Quinn, who is fairly impressive in his debut. Hannah looks good but seems completely without depth, as do all the other characters in this routine bad-boy-loves-good-girl drama.

An effective and moving drama about the strength of the human spirit and the will to survive.

A charming comedy shot in black and white that mixes several varieties of the New Yorkers that Allen loves so well.

A mindless comedy that's about as funny as a life sentence in solitary confinement.

The film's only plus is some superb ski photography.

A meditative film by visionary Soviet filmmaker Tarkovsky that lures viewers into its mysterious, mystical world and completely envelops them for a two-hour stretch.

Streisand is actually quite credible in her role and she elicits beautifully shaded performances from a large cast, particularly Patinkin and Irving.

This is a fast and funny film that will appeal to viewers of all ages. The kids are particularly good, lacking any cloying cuteness. The Aussies sure have a way with chase films, keeping the moves motivated and logical, with no gratuitous cars flipping over and burning.

Infantile fantasy reuniting the stars of Grease.

Hackman's performance, beautiful photography by Stephen Burum and Ric Waite, and some effective action direction from Ted Kotcheff make this watchable, but the jingoist wish-fulfillment inherent in the material is ultimately disturbing.

A minor disaster. Director Michael Mann presents a fantastic-looking movie, filled with great production values and lush cinematography. Unfortunately, these are combined with a totally incoherent narrative, punctuated by incredibly inept performances from usually fine actors.

The plot is much the same as in the Ernst Lubitsch original, with everything played for laughs and Brooks at his funniest in impersonations of Nazis. What's missing is the relevance of the 1942 film, released while Germany occupied Poland.

Mindless but likable comedy about a failing Washington, DC, cab company that is revitalized when the eccentric group of cabbies work together to save it. A good cast makes the most of the uninspired material.

Uneven but sometimes fascinating murder mystery.

Mike Nichols, in his first venture into movies since "The Fortune," elicited superlative performances from the actors, particularly Streep and stage veteran Sudi Bond.

A beautiful, at times poetic exercise in excess from Brian De Palma.

Christine just boils down to another average adaptation of one of the increasingly weak Stephen King novels that hit Hollywood like a bad rash in 1983.

Eastwood keeps things moving at a furious pace and the series' formula of having a steely-eyed "dinosaur" like Harry cutting through the red tape and vanquishing the scum of the earth remains irresistible.

Directed with flair by George Pan Cosmatos and filled with sly references to Moby Dick and The Old Man and the Sea, this film is a successful blend of terror and humor, played with some real fervor by Weller.

Lopsided comedy turned tearjerker, saved by excellent performances.

The cast is wonderful--especially McGavin, Billingsley and Petrella--the laughs are nonstop if rarely subtle, and the whole thing deserves to become a Christmastime classic.

Writer-director Robert Hiltzik tries to mask the poorly staged murder scenes and lousy effects with a perverse sense of humor, but it doesn't work. Some scenes, especially one involving a girl and a curling iron, are simply irredeemable.