The film's lingering exploration of their sleek surfaces verges on roboporn.

As overstuffed as a twice-baked potato.

This cautionary tale, complete with the swank cars, cool clothes and depraved babes that inevitably accompany degradation Hollywood style, is based on former sitcom scribe Jerry Stahl's lurid tell-all memoir of his descent into heroin addiction. Under the witty surface, the moral seems to be "The devil made me do it." Even by sitcom standards, that's old.

A rather pleasant period comedy that made quite a sum of money for the studio in its economically weak post-Walt period. A delightful cast of character actors helps the childish story, with Conway and Knotts beginning what would become a somewhat famous, but very simple-minded, film comedy duo.

OUT FOR JUSTICE's only real weakness is Seagal himself. Always an icon rather than an actor, Seagal's face appears puffy and he's developing jowls. This doesn't bode well for his future as an action hero, since looks count; ugly guys are relegated to the heavy roles, and it's hard to imagine Seagal settling for such an ignoble fate.

The plot has lots of holes, but veteran TV director Rod Daniel keeps the proceedings light and lively, and Belushi does a fine job of relating to a dog as a multidimensional character. Jerry Lee--while no Benji in the acting department--is likable and receives ample help from the film's editors.

The general level of mayhem, the sudden transformations that are Plympton's trademark moves and the pervasive irreverence will no doubt delight Plympton's legion of fans; others may find 80 minutes of these shenanigans exhausting.

Though overall an overwhelmingly positive portrayal, the film doesn't ignore the more problematic aspects of Brown's life.

THE MIGHTY DUCKS is harmless enough, but its schematic retread of a screenplay and its lethargic acting detracts from the unassuming, passable entertainment it might have been.

Who these brave men were and why they fought disappears under the usual clichés, while the astounding acts of courage that occurred at Ia Drang are lost to the dust and din.

It's a bit of 60s idealism wedged in what basically looks like a hip-hop music video.

The obsessive lust that drives Higgins to horrific extremes in Hellraiser was almost enough to carry that film, but Hellbound has no such straw to cling to, and the film collapses into a bloody mess of bravura set pieces that never add up to a satisfying whole.

The beautiful ice-blue landscapes are really the only reason to sit through this rambling and rather silly first feature by writer-director Sue Clayton.

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.

An enjoyable, low-key film, Something Special! boasts some fine acting from its teenage cast.

A bleak, often repugnant rumination on the harsh realities of urban life, Driller Killer will offend tender sensibilities. But Ferrara is already a distinctive and conscientious talent behind the camera, unmistakably concerned with more than gore-filled exploitation.

Katey and Javier's dramatically expedient relationship is nowhere near as interesting as the Cuban Revolution, which is relegated to window dressing.

This cream puff of a romantic comedy is sweet enough, but lack of substance makes it deeply unsatisfying.

The greatest mystery, though, is how this thoroughly trashy picture wound up opening theatrically, rather than going direct to video.

Simply a series of set pieces designed to insure Angelina Jolie's status as action-babe pin-up.

The main problem is Marcore, who is almost too gawky to be believed.

The perky Aniston is both unflatteringly photographed and utterly unconvincing in the pivotal role of Lucinda, and overall the film has the oddly disconnected quality of '70s Euro-thrillers whose international casts spoke different languages on the set and were dubbed into conformity.

Most of the film's imagination and energy seem to have gone into the clever casting and flamboyant costume and set design.

Despite Jack Nicholson's galvanizing portrayal, Hoffa is a cold, remote, neo-religious pageant.

Although billed as a sci-fi film, HARDWARE is unquestionably a horror. In his calculated enthusiasm to shock, first-time writer-director Richard Stanley has filled the screen with gratuitous violence and psychosexual perversion but failed to present a plausible, reasonably coherent plot.

Less pretentious than John Milius' Big Wednesday, North Shore is pleasant enough but not very engaging.

Director Tim Burton and his screenwriters bring a heavy-handed, plodding realism to bear on what should be pop-mythic material.

An intriguing, suspenseful story is somewhat hampered by a dull cast.