Apocalyptic carnal horror with a strong Alejandro Jodorworsky vibe.

No Small Affair, while nothing special, at least doesn't resort to the usual teen sex-fantasy cliches and gains more points for what it isn't (sophomoric) than what it is (occasionally touching).

Unfortunately, the characters feel more like symbols than people, despite strong performances, including what might be Portman's finest work to date.

An intoxicatingly beautiful but painfully simplistic fable about love and death.

A much gentler follow-up to the original film, Any Which Way You Can takes the time to humanize the characters, and shows them as passionate human beings instead of the fighting machines they were in the first film. Among the film's many funny moments is a parallel seduction sequence showing Philo and Lynne in one motel room, while Clyde puts the moves on a female orangutan next door.

This short documentary might teach you a thing or two about the electronic instrument that revolutionized the sound of modern music.

Like most anthology films, this thematically linked trio of shorts is a mixed bag.

This moody film is ravishingly beautiful to look at -- but the story's fairy tale atmosphere doesn't entirely mesh with its psychological underpinnings.

Smith's unrepentantly juvenile sense of humor leans heavily on elementary pop-culture parody, a particularly tiresome and parasitic form of humor that depends on an audience of smirking know-it-alls who can be trusted to snicker whenever they get the reference.

Like the fresh-faced leads, the film is an unexpected charmer.

Vadim's direction is pretty tedious, and his main aim seems to be titillation.

It's a mixed bag, but successful in a mindless, adolescent way. The spirited, energetic music is contributed by a variety of rock performers, including Blue Oyster Cult, Black Sabbath and Nazareth.

For all the bad press Ishtar received, it does have a certain odd charm... The biggest problem is that any attempted subtlety is swamped by May's bid to turn the film into an epic adventure story.

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

Ice Castles collapses under the weight of sentimental overkill.

No matter how deep one's affection for man's best friend, there's something undeniably fatuous about considering the emotional impact 9/11 has had on a dog named Rain.

A terrific showcase for a troupe of fine actors who rarely find work outside the Australian film industry.

Despite its flaws, the film has the same dreamy, romantic melancholy that distinguishes Wong's best films.

The Connery-Bardot pairing that Shalako offers simply can't pump much life into this otherwise typical big-budget western set in 19th-century New Mexico.

Testosterone-driven entertainment with a moral, sleekly directed by James Foley.

It's a kiddie movie rejiggered for childish grown-ups, of whom there are enough to make it a hit. How such childishness has become a virtual secular religion is hard to imagine.

POPCORN seems to be a case of too many ideas; the basic story could probably have made a very effective short. The acting in the film varies greatly, and some mediocre dubbing adds to the amateur feel.

The film's meandering narrative, melodramatic conclusion and underdeveloped characters overshadow the genuinely shocking abuses it condemns.

Fox's performance is surprisingly assured; Sutherland is also convincing as his self-centered, dissipated, and snobbish best friend.

THE PROGRAM was a surprisingly thoughtful entry in a season glutted with sports films. (RUDY; BLUE CHIPS; THE AIR UP THERE; ABOVE THE RIM; D2; and MAJOR LEAGUE 2.) The game sequences, in particular, are deftly choreographed and charged with a real sense of drama.

A military satire in the tradition of M*A*S*H and Catch-22, based on Peruvian novelist Mario Vargas Llosa's 1973 book.

It takes perverse genius to make an action film this stupid.

Duvall at his worst is still an accomplished performer; Pedraza is a modern-day Ali McGraw, lithe and beautiful but no kind of actress. For all her fluidity on the dance floor, she's a dead weight who drags the film down.