As to what happens between shows, well, apparently not a whole hell of a lot. If there are groupies, demolished hotel rooms, midnight payoffs to the vice squad or drug- and alcohol-fueled misbehavior, there's no evidence of it here.

Yet another variation on the woman-from-hell subgenre, THE CRUSH fails to come up with many new twists beyond casting a teenager as its villain. Dancing around its own salacious possibilities, the movie is only briefly offensive and rarely surprising.

The film was directed and scripted by Douglas Heyes, who was smart enough to know he couldn't improve on William Wellman's 1939 version, so he made some changes in plot and emphasis, and put a great deal of care into the casting of secondary roles.

This frothy musical has a likable cast and a gossamer-thin story.

The images of gods and ordinary Tibetans that Bush captures are more eloquent that his turgid narration, and overall the film works better as a travelogue than an introduction to Tibetan Buddhist beliefs or history.

Overall, this puff piece is shapeless, repetitive and feels much longer than it is.

The film's bright spot is Irish comedian Dylan Moran, who plays Libby's charmingly dissolute cousin and who also happens to be Dennis' best friend. He's fresh, unpredictable and genuinely funny -- everything the film isn't.

A series of outrageous situations and generally manages to walk the thin line between poking fun at racial stereotypes and reinforcing them.

Cool Runnings has a great premise: a movie based on the true story of the Jamaican bobsledders who amused the world at the 1988 Olympics. But this Disney film, a stale and out-of-date offering, is far less interesting than seeing the real athletes during the Olympic telecasts.

This supremely silly supernatural potboiler is slickly entertaining for just under two hours and absolutely hilarious for 10 minutes near the end.

Though the story is tired, most of ROBOCOP 3's action sequences and special effects are imaginative and effective, and the gruesomeness of the first two films has been toned down in a commercially wise attempt to make it more accessible to the younger audiences who love Robocop.

Like any good soap opera, the script deftly flits among story lines, offering just enough tantalizing plot development to keep you sticking around for another bite.

With a little more plot, this could have been a killer.

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

Should have been pared down into an episode of the series.

Gloriously seductive musical sequences seem suddenly hokey and self-conscious when they're staged in Western settings, and the songs' English-language lyrics are painfully banal.

You can almost feel writer-director Ron Shelton praying for lightning to strike twice, but to no avail.

It's really just "Rocky" in gleaming dress whites.

The child actors are bland, the adult characters are forced to act like dunderheads to keep the paper-thin plot going, and the generic-sounding Jimmy Buffett songs are just a LITTLE out of sync with the film's target age group.

On the plus side, King Kong Vs. Godzilla had a higher budget than most films, and it shows.

POPCORN seems to be a case of too many ideas; the basic story could probably have made a very effective short. The acting in the film varies greatly, and some mediocre dubbing adds to the amateur feel.

Schwarzenegger proves to be mildly amusing, but DeVito seems to be coasting on his past reputation as an audience pleaser.

Most of the film consists of meetings between different factions and groups, all conducted according to ancient tribal customs.

Buoyed by a good cast, strong direction, and excellent effects, Child's Play almost works. Unfortunately, the screenplay is full of plot holes, lapses of logic, and missed opportunities.

To his eternal credit, Jones gives his considerable all and even coaxes a startling note of poignancy from one scene, while Smith just bops along, lobbing gags and grinning at the special effects.

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.

Anyone who understands the meaning of the title or catches all the frog references scattered through writer-director Martin Curland's feature debut will have a head start understanding this confused and confusing comedy.

An intoxicatingly beautiful but painfully simplistic fable about love and death.