Your ability to enjoy G-Force will correlate directly with how funny you find the idea of guinea pigs as action heroes.

Though Argento's plot is often confused and grotesque, he has a remarkably energetic visual style (mobile camera, slow-motion, careful lighting, creative editing) that is never boring.

Alnoy's narrative is better suited to a trashy thriller than a vehicle for weighty political themes.

Unpleasant stuff, and Clark pounces on the material with his usual relish and a discomfiting combination of moralizing and prurience.

Formulaic film recounts the tumultuous birth of Israel.

Here we go again--it's time for a 747 to meet disaster once more with a host of colorful characters to worry about as they go down--and this time they go down 50 feet into the ocean.

The high point of the picture is the antics of Merlin; at one point he's hilariously funny in his absentmindedness, and the next he shows his cunning.

This often-funny film fails to sustain its premise through its entire length. Cambridge is hilarious in his role, but many of the gags are cliched, uninspired, and just what one might have expected from the situation. In order to work, comedy must offer surprises.

Though the film contains many haunting images, the absence of a solid emotional foundation makes its increasingly preposterous story developments feel arbitrary and ultimately pointless.

More of the same, but it's now so far removed from any sense of reality, and done with such ham-fisted insistence, it's become a clumsy parody of itself.

The resulting film is compellingly watchable and consistently entertaining, even if it does feel somewhat disingenuous, given the pedigree of talent involved.

Well-acted first-feature.

Hawn has the right screen persona to carry it off, but her character is lost in a barrage of weak comic moments and absurd action.

Not quite as fresh as the first NAKED GUN, but what can you expect from a film subtitled "The Smell of Fear"?

The film is rather haphazard in its visual style and plotting, tallying up to a confused condemnation of our lack of morality.

The puppets are depicted simply but effectively, mixing real puppets, undersized actors in costumes, and stop-motion animation. Richard Band's haunting, waltz-timed theme music is back, and visuals expert David Allen, who animated the puppets in the first film, steps behind the cameras here for a somewhat wobbly job of directing.

Mark Orton's overused fiddly score is nice enough, but can't disguise the essential emptiness of overlong scenes.

Features some strikingly intimate footage of Noonan's extended family, but lets Noonan himself drives the show and his colorful tales of villainy that cry out for more context than MacIntyre provides.

Bill Murray plays the secondary role of a nameless American gag writer brimming with one-liners about the absurdity of Cuban life, Dustin Hoffman has a cameo as kvetching gangster Meyer Lansky.

This light-hearted fun is made to work thanks to the performances of a well-chosen cast, though the overall pacing drags and the editing is rough.

Overall, the performances are surprisingly convincing, but the mockumentary elements – feel out of place and the intrusive.

Quite possibly the final word on a much-maligned genre.

While the basics are pretty familiar, director Tom DeSimone does manage to create a few effective moments.

SMOOTH TALK is trying to talk to a 1980s generation by using 1960s dialog. Faithfully adapted from a 1970 Joyce Carol Oates short story, the film's attitudes are better suited to that era than to the present. Dern (daughter of Bruce Dern and Diane Ladd), however, is the one element that makes SMOOTH TALK.

Ironically, the filmmakers seem to think the audience for this movie about super-smart people is super-dumb.

At times it is fascinating, at other times pure Memphis cornpone.

By the time it reaches its fiery finale, the film feels less mythic than self-consciously portentous.

Supposedly a no-holds-barred look at the seamy heroin subculture, The Panic in Needle Park is really little more than a boring romance between two dullards intercut with close-ups of filthy needles being jabbed into scarred veins.