Alec Baldwin and Kim Basinger step into the roles originally played by Steve McQueen and Ali MacGraw, but their attempts to inject steamy romance into the action are undermined by indifferent direction.

A down–under fable with a sweet country-music twang.

Director Donen takes us for a few romps in the green countryside to ease the claustrophobia, but this gratuitous meandering only serves to make us realize how hidebound the story is.

It's an exercise in star turns, surrounded by elephantine blandness. The supporting cast look, and act, like refugees from Disney or Oral Roberts University, handpicked not to ruffle the star.

For all the complicated backstory, weighty themes, action set pieces and fanciful production design, the film is oddly unengaging.

Director Kevin Reynolds has no flair for action: the climactic battle is so ineptly shot and edited that it is difficult to tell who is smiting whom. While Costner is lifeless and speaks strangely (he was said to have attempted a British accent, then abandoned it during shooting), Mastrantonio is an acceptably vivacious Marian.

Overall, this is a fuzzy, unfocused drama that bites off more than it can chew, or viewers can digest.

While snowboarding enthusiasts will eat up every minute of its two-hour running time, it's thin stuff for the unconverted.

The idea is more interesting than the screenplay, which lags badly in the middle and lurches between not-very-funny comedy, unconvincing dramatics and some last-minute action strongly reminiscent of "Run Lola Run." Great soundtrack, though.

The silly script lurches from one jarring, implausible moment to another, and Marshall directs like he was wearing earplugs and boxing gloves on the set.

The movie deals superficially with Native American pride and racism in the ranks, but it's hardly about the codetalkers at all: Neither Woo nor the screenwriting team of Joe Batteer and John Rice seem to appreciate the bitter irony in a Native American soldier protecting his land by serving the very government that took most of it from him in the first place.

The glammed-up Kinski looks the same age throughout and only has three expressions: angry, wistful, and someone's-killed-my-dog.

Zizek as a larger-than-life figure who manages to engage you even when you're not entirely sure what he's going on about.

Inoffensive of this kind (except for the usual array of stock Mexicans), but wholly unoriginal.

What TOP GUN contributes to the genre is an increased emphasis on military hardware and an almost homoerotic attraction for male bodies, mostly sweaty ones.

Woody Allen is among a very few people in the history of film who have provided audiences with really intelligent humor. But even Homer nods, and never has Allen more obviously fallen down on the job than in A Midsummer Night's Sex Comedy, a trifle that owes much to Ingmar Bergman in style and to Groucho Marx in content.

A sloppy, often goofy chiller, the film is full of references to (and outright rip-offs from) other movies, especially those of New Line Cinema, Craven's erstwhile producer.

MacDonald's novel--his first solo screenwriting credit--is full of rapid-fire dialogue but some of the characterizations are thin. Despite all the big names involved, Harper doesn't begin to approach the big leagues of hard-boiled detective films. Nonetheless, Newman gives a convincing performance.

Pare lacks charisma as Eddie, but the Bruce Springsteen-like music (by John Cafferty, who dubs Eddie's singing voice, and his Beaver Brown Band) was good enough to put the soundtrack album in the Top 40 charts.

An attempt to capitalize on the success of WILLARD (1971), this silly-sounding revenge-of-nature film is surprisingly effective.

The kids will love all the visual gags in this pleasing if lightweight Disney film.

There are a few sparkles of humor here, but this remake is an inferior product. Whereas Sturges played out his story with wit and flair, Howard Zieff's direction is flat and uninspired.

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.

Ridiculous detective Randall stops a sadistic killer from working his way through an alphabetical victim list. Agatha Christie and her legendary detective, Poirot, get a not-at-all serious treatment in this unbelievably unfunny comic mystery.

A feeble attempt at comedy in the Damon Runyon mold (although based on a Louis Bromfield opus), this is a hit-and-miss affair with some offbeat casting.

Paul Muni gives another classic performance in this wonderful fantasy about a notorious gangster who is murdered by a double-crossing partner.

Damon, an underrated comic actor, is particularly good as an ultra-rationalist who'll scream like a girl and run from anything he can't immediately explain.

Scientists in an underwater lab are picked off by a monster of the deep in this cheesy hybrid of Alien, The Thing, and The Abyss.