Improbable as are all the Dirty Harry films, The Enforcer is crammed with action and spilling over with violence. The photography is fine, but the gore is as repugnant as Daly's overacting.

A little stingy in the action and thrills department, but Moore, in his limited way, seems to be having a good time.

Cronenberg's brand of body horror isn't to everyone's taste, but to call him a reactionary anti-sensualist who metes out grotesque punishment for sins of the flesh -- as detractors have -- is to miss the point.

Perhaps the best Hudson-Day film.

It's a lightweight piece with not much of a plot but plenty of amusing lines in the middle of familiar situations.

Moore and Harrelson are very well cast.

It's a film that deals with natural emotions and commonplace decisions creating uncommon situations. Bud Yorkin's direction is also top-notch.

Nearly strangles in its own stylishness but benefits from smoldering performances.

The face may be vaguely familiar, and if the name "Mimi Weddell" doesn't ring a bell it will after you've seen Jyll Johnstone's affectionate documentary portrait of this unstoppable nonagenarian model and actress.

The movie has a monster problem -- the more you see of them, the less scary they are -- most of the characters are standard-issue types, and Harden seriously overdoes the pious psycho bit.

But for all the sound, fury and spectacle, the film feels vaguely hollow and unsatisfying.

In a film about the ruthless corporate destruction of small businesses, it's hard not to flinch at the prominent placement accorded IBM, Starbucks and AOL logos.

A fascinating rumination on humanity, technology, entertainment, sex, and politics that is virtually incomprehensible on first viewing and needs to be seen several times before one can even begin to unlock its mysteries. (Review of Original Release)

Viewers hoping for a brutal, pitch-black war comedy along the lines of M*A*S*H are in for a major disappointment.

The story is predictable, but Reeder's performance is painfully convincing and the East Village locations so uniformly grimy that they all but weep despair.

The work of Hackman and Mastrantonio keeps the action afloat and more credible than it deserves to be.

Director Milius is wholly unconcerned with portraying the criminals of the 1930s as they really were, mixing up facts and fiction in a tasteless stew of violence, blood, and human gore.

The tone is inconsistent -- sometimes it seems to be straining for black comedy, other times it seems dead serious.

Fingleton turned his own story into a feel-good fable; neither Martin McGrath's gorgeous cinematography nor the hypnotic score by Run Lola Run(1998) composers Johnny Klimek and Reinhold Heil's can compensate.

The screenplay is a distinct improvement on Crichton's one-dimensional, humorless potboiler. The movie comes closest to thematic coherence in its depiction of something nearly everyone can relate to: the office from hell.

Essentially a big-budget, modern-day version of a 1960s acid-trip film, ALTERED STATES was helmed by flamboyant, talented, but frequently self-indulgent director Ken Russell, who takes a confusing Paddy Chayefsky story and wraps it in a pretty package, but fails to bring any clarity to the silly affair.

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).

The film's tone is a matter of taste -- the more you enjoy the melancholy silent comedies of Keaton, Charlie Chaplin and Harold Lloyd, the more likely you are to embrace its sensibility -- but it's undeniably the product of a singular and beautifully realized vision.

Hits the ground running and never backs off until an ending that is disappointingly diffuse. (Review of Original Release)

Shot on location in the Bahamas, Austria, and on Salisbury Plain, HELP!, the second Beatles film, is nonsensical fun.

Whether the source material or Hare's tinkering is to blame for the fact that the story keeps the viewer at arm's length, the end result is still the same: A film that's technically superb, yet still falls short of true greatness.

Director Michael Cimino turned YEAR OF THE DRAGON, an engrossing novel by Robert Daley, into a confused, overlong, preachy, and at times downright annoying crime epic with a wholly unsympathetic main character played by the totally miscast Mickey Rourke.

A fairly tame, fairly lame blaxploitation footnote, starring drop-dead gorgeous Tamara Dobson and her improbable wardrobe.