Slight and pleasantly predictable film coasts along on the considerable charms of its cast and exotic setting.

Snappy and smart, the film gets surprisingly far on a fairly contrived conceit, proving that there's no energy quite like energy fueled by anger and disgust.

Achieves what Hollywood never quite gets right: a tense and timely thriller that also serves as a political and a moral allegory.

The very definition of sentimental overload. It's also impossible to resist.

Eisenstadt has an unerring sense of comedic rhythm and a knack of cutting away just in time to extract the drop of humor from a potentially pathetic situation.

Director Cokliss directs in a workmanlike manner, but his action scenes are unimaginatively handled and lack pizzazz. Luckily, his cast is almost strong enough to make up for it.

SUBWAY is DIVA with no brains--a film of all style and little substance. Ah, but what style!

Leisen, who would go on to make Hold Back the Dawn and Lady in the Dark, rarely equalled the splendor of this film.

While most of the show's scenes work well cinematically, some are laughably miscalculated. Rock-video aesthetics and overamplification swamp "Glory" and "What You Own" while also robbing other sequences of their depth.

Amiably undemanding...Exhausted though the action-cop-buddy-comedy genre is, Another Stakeout manages to be fairly entertaining.

Despite some plausibility problems, the movie is well handled by director Peter Yates. There is no question that Suspect is capable of putting a lump in one's throat; the problem is that it's a little hard to swallow.

Who knew the rock 'n' roll life could be so mild?

Amazingly, not all of the witty and wise barbs are Wilde's, and any confusion between the old and the new is probably the highest compliment one could possibly pay to screenwriter Howard Himelstein's tart screenplay.

The film's tone - a mix of childlike directness, twee whimsy and arty sentimentality - is a matter of taste.

The movie's is really good, clean fun that's fine for slightly older kids and a lot of fun for adults.

The most popular film in Indian history.

It's alternately stimulating and exhausting.

The Great White Hope persuasively recreates the climate of the time and generally avoids the preachiness for which director Ritt is sometimes known. The love story between Alexander and Jones is touchingly portrayed.

The folks at Jim Henson Pictures have wisely opted not to mess with the late Jim Henson's winning formula; the crowd-pleasing soundtrack features hot '70s funk classics, the Muppets are as cute as ever and there are more than a few flashes of adult humor to keep grown-ups laughing right along with the kiddies.

Most of it comes across as overheated nonsense, but Page's egomaniacal telephone soliloquy at the film's climax is reason enough to tune in.

Elvis Presley again plays a successful racer in this, his 27th film.

A deadpan satire of the espionage film that explores the accepted logic forming the basis of the genre. Although not as interesting as some of Penn's other genre experiments, TARGET is worth seeing if only for the inspired teaming of Hackman and Dillon.

Sweet-natured, formulaic and ripe for an American remake.

An entertaining road movie with a topical point: The three passengers on this cross-country trip are U.S. soldiers who've just returned from Iraq.

Australia goes for the absolute limit in terms of scope. And let's not be coy -- size may not matter, but it still helps.

This loud and thoroughly obnoxious comedy about a pair of squabbling working-class spouses is a deeply unpleasant experience.

Every character fated to die in Othello meets his or her maker by the time the curtain falls on Blake's adaptation, which means the manicured campus of Palmetto Grove is left littered with slain coeds.

Driven by sheer enthusiam (much of it for the worst excesses of Hollywood filmmaking), which makes it fun to watch in spite of its fundamental ridiculousness.