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.

Universal Studios' elaborate and expensive remake of their classic 1925 silent horror film The Phantom of the Opera boasts fabulous sets, gorgeous costumes, and stunning Technicolor photography--but fails in the horror department, because of an excess of music and low comedy.

A genuine oddity, the film is exceedingly well shot by cinematographer Alfred Taylor and has a creepy PSYCHO-like feel about it as well as some nightmarish surrealism.

One of the better films concerning the tensions in Northern Ireland, THE OUTSIDER stars Craig Wasson as a young Irish-American inspired by his grandfather's patriotic tales of fighting the British years ago.

An interesting variation of the Frankenstein theme presented with fine production values.

Ultimately, Bubble is less important as a film than as an experiment in simultaneous cross-platform film distribution.

The story is familiar, but terrific performances and a vivid sense of place elevate it above the average teen-oriented picture.

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.

The standard British murder mystery is raised to a higher plateau by Hitchcock in STAGE FRIGHT, but still falters in comparison to the best of the master's works.

Although notorious in South Africa, Stander is little known elsewhere and Canadian director Bronwen Hughes' unsatisfying account of his life and crimes is unlikely to earn him a spot on the outlaw celebrity A-list.

Luckily, Towne has assembled a marvelous cast who somehow manage to keep the film moving, despite their obvious confusion over just what it is they're supposed to be feeling.

It's both very funny and very scary, and never descends to the level of spoof.

The performances are uneven and the loosely structured story never actually goes anywhere.

A wonderful premise that delivers solid laughs and has a heart as big as the state in which this farce unfolds.

Brutally gorgeous and seething with incendiary images.

The obvious product of a corporate search for the next great fantasy franchise, this adaptation of the first in a series of popular children's books by the writer-illustrator team of Holly Black and Tony DiTerlizzi is a lump of leaden whimsy.

Poignant documentary.

If Caspian has a fault, it's that viewers familiar with neither the books nor the first film may have trouble picking up the strands of the story in the early scenes… but in all honesty, how many Lewis neophytes will choose Caspian as their point of entry?

This western almost makes the grade as high-quality moviemaking, but just never quite gets there.

Old-fashioned fun that goes down as smoothly as a vintage cocktail.

Lewis is only slightly awful, and he and Depp have a nice rapport; Dunaway gives a particularly juicy performance; and Taylor is simply amazing, seemingly able to transform herself physically for every role she plays.

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.

The title refers to the giant promotional sign for the Hollywoodland real-estate development that once loomed on the side of Mt. Cahuenga. Shorn of its last four letters 10 years before Reeves' death, it survives as the iconic Hollywood sign.

Competently directed by respected film editor Stuart Baird, it's a glossy production with plenty of Things That Go Boom, courtesy of producer/demolition expert Joel Silver.

Say what you will about (Smith's) sense of humor, genuine faith is rare enough in popular culture to make any sighting worthy of note.

The film's fish-out-of-water story line is a film comedy standard; what makes the picture work so well is Hogan's cheerful, weatherbeaten appeal.

The characters are two-dimensional types -- the good girl, the tough lesbian, the saintly mother -- but the cast gives its all. Just try not to get too distracted by the echoes of other movies, like DEAD END BOYZ N THE HOOD.

Does so many things right that it's a shame to see it sink into horror-movie cliches.