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.

As a piece of cinematic art, this meandering, shambolic film isn't much to speak of, but as a time capsule, it's priceless.

Perry certainly loves his divas -- the best parts are written for Scott and the wonderful Smith.

Dramatically simple but emotionally complex.

Blue Steel's greatest pleasure is its smashing cinematography, courtesy of Amir Mokri, but also owing much to Bigelow's distinctive pop aesthetics. The dependable Curtis adds depth to what might have been a stock character; Silver is convincingly vicious and seductive.

It all seems terribly familiar.

Long takes do not a masterpiece make, and the suspicion that the whole thing is a lark is only bolstered by Damon and Affleck's inability to contain their giggles.

The success of this picture (perhaps Moore's best in the Bond series) can be attributed to the marvelous direction of Glen, who had previously worked as a second-unit director on earlier Bond movies. Not surprisingly, the stunts are some of the best in the series.

Some movies strive to give you that warm, fuzzy feeling, and some strive to make you bawl your eyes out, but Observe and Report strives to make you feel ambivalent, confused, and a little bit dirty, and whether or not you find that enjoyable, it's not something you likely feel very often.

Efficient if uninspired documentary.

Gives off an air of clammy desperation that feels all too authentic without being especially funny and bogs down early in repetitive shtick. (review of re-release)

Though the performances are surprisingly good - the characters are drawn with a broad brush, but the actors, almost all professional comics, hit all the right notes - the material just isn't funny enough to justify the film's length.

Herek does capture the rush and crush of a stadium concert, and the music (more Leppard than Priest) isn't half bad -- in a disposable, arena-rock sort of way.

Daniel is so hopelessly immature, and played with such puppy-dog overkill by Williams, that it's impossible to root for him--until you meet his wife, whom Sally Field makes even less appealing.

This candy-colored animated fable is an awkward mix of corny bee puns, clever sight gags, kid-friendly action, adult-centric workplace angst and Seinfeld's distinctive navel-gazing wit. And what's up with those four-legged bees?

Shane West does a pretty impressive impersonation of the on-stage antics of Darby Crash...Unfortunately, little else in this clunky, half-baked biopic rings very true.

While not very original or even very skillful, THRASHIN' (a skateboarding term for aggressive, gutsy skating) isn't nearly as bad as it sounds.

Crammed into 130 minutes of screen time, Le Carre's story loses much of its motivation, and although there is plenty of action and suspense, often it seems that the action is happening in the wrong places to the wrong people.

Ho-hum country-music saga stars Quaid as an aspiring singer and McNichol as his pesky, ambitious younger sister, who drags him kicking and screaming (for what seems interminably longer than 110 minutes) to fame and fortune in Nashville.

A disappointing attempt at comedy, considering the names of the creators and the adroitness of the stars.

It was the first time that homosexuality and cannibalism had ever been handled by a mainstream studio as a commercial venture. Let's hope that it remains the last time those two practices will be presented in tandem.

Disney does it again in this delightful comedy.

A slicked up, perfectly watchable update of a movie that was just about perfect on its own bleakly seedy terms.

A sweet film with no big action moments may be a hard sell to young male audiences, but it's nevertheless a quality story that the whole family can watch together.

The performances are passable: Tandy and Cronyn are talented enough to avoid looking foolish. The special effects team has created some truly convincing sequences that give the saucers more personality than the human characters.

Stylish and surprisingly effective thriller.

Aside from some effective suspense sequences, the film's strengths lie in the relationship between the heroines, which is well developed and plausible by genre standards.

Writers Jon Connelly and David Loucka have fashioned a script that works largely because of the efforts of the four capable and credible actors who comprise The Dream Team: Christopher LLoyd, Stephen Furst, Peter Boyle, and Michael Keaton.