Though the film certainly isn't awful, the filmmakers couldn't decide on their focus. Did they want the picture to be be a fun little piece full of black humor, or did they want to go the usual blood-and-gore route?

This humorous, lively, and entertaining picture could be described as a caper film set against a WW II backdrop.

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

A must-see for Beatles buffs and anyone interested in how the '60s looked as they were happening (rather than in slick, retrospective recreations); others might want to take a pass.

More ambitious than the usual low-budget horror item, SOCIETY doesn't develop its provocative idea--when the rich feed off the lower classes, they do so literally--to the fullest, but has its share of intriguing and chilly moments along the way.

Waters fans and those with a taste for '60s indulgence will want to have a look, but keep that fast-forward button handy!

Since FANDANGO never has anything to say about its well-worn themes, the film quickly becomes boring and predictable.

Intended as more than a simple genre flick, SUGAR HILL aspires to something like classical tragedy, but it's weighed down by its sense of self-importance.

Overall the film is a stylish lark with no resonance, a mean-spirited one-night stand of a movie.

The film's flashy visuals (apparently geared to engaging video game-impaired attention spans) are entertaining, but its cynicism is distasteful.

This underrrated shocker has developed a cult following since its scattershot 1973 release, but deserves a wider one.

For most of its running time, this lunatic euro-thriller is creepy, stylish and occasionally suspenseful.

The film's center will not hold. Either crucial scenes were cut (perhaps for length) or Kapur has a problematic sense of narrative structure; sometimes it's unclear who's doing what to whom.

What begins as an entertainingly contrived lark soon feels like a poorly plotted muddle.

Though filmmaker Nina Gilden Seavy followed Bering Strait for the better part of two years, their story is in no way over at the film's conclusion.

Can't match the original's shock factor --abortion isn't the taboo subject it once was and the women of Sex and the City have helped make playing the field good, dirty fun.

There's a caper and there are some laughs, but this isn't a larky caper flick; it's a pulpy little story that could at any minute go straight to hell.

Director Wolfgang Petersen combines the elements into a charming film that is excellent for children and won't put any adults to sleep, either.

Aside from the obligatory shots of the dummy looking sinister, director Attenborough fails to evoke an effectively eerie mood, concentrating instead on the "drama" between Hopkins and Ann-Margaret.

Hemorrhaging enthusiasm, ruthlessly violent, and light-headed with its own hard-core grunge worldview, LOVE AND A .45 unmistakably positions director Carty Talkington among the many pretenders to Tarantino's throne.

As played by the classically trained Robert Englund, Freddy is a vital killer who brings a sense of creepy fun to his demented work — moviegoers actually like the guy. The nightmares themselves are another reason for the series' success. Seldom have films explored the nightmare world with such effect, style, and panache.

The thrills are few and the expository dialogue tediously overwhelming in this preachy cautionary tale about getting too big for one's britches.

The "cute" kids are insufferable, but leads Ali Khan and Mukerji radiate the unabashed star quality that's all but gone from American movies -- poverty and desperation haven't looked so glamorous since the glory days of Joan Crawford.

It's a "Taxi Driver"-inspired odyssey into violence and insanity that runs close to two hours -- a long time to be riding shotgun with a madman.

Obviously relishing the chance to show everything they couldn't back in the early days of exploitation horror, the New World gang breaks all the monster-movie taboos while injecting heavy doses of black humor.

The dullest movie ever made about child abuse, conspiracy and murder.

Beautifully shot and lushly scored, this may be one of the least P.C. love stories ever filmed. But it's one of the most deeply felt.

The set design, by future director Derek Jarman, is probably the most successful element of the film.