Willard could have been a great horror film; instead, it just makes you want to lift your feet safely off the floor.

Another one of those movies that was more of a "deal" than it was a picture.

Intrigue comes in epic proportions in this US versus Russia arctic battle.

Director Blake Edwards takes a sitcom sketch and blows it up into a witless feature film that relies on pratfalls and slapstick.

Violent, kinetic, and occasionally clever, KILLING ZOE is no match for either RESERVOIR DOGS or PULP FICTION, but it's a zoned-out rollercoaster ride of the first order.

Films like this are the definition of "critic proof"; if the casting, synopsis and very concept don't deter you, you'll probably find it very funny.

As the Fat Boys demonstrated in DISORDERLIES, the social stridency of rap music does not mix well with crude, antediluvian slapstick. And now Kid 'N' Play, the popular rap duo that scored high-energy hilarity in HOUSE PARTY, offer further proof with the intensely juvenile CLASS ACT.

The film is based on the Ephron novel detailing her marital break-up with journalist Carl Bernstein; but although the book had a distinctive bite, the film is a colorless adaptation.

Although Chase is very funny, the first half-hour of NATIONAL LAMPOON'S CHRISTMAS VACATION is rather flat; the film really comes to life until the arrival of Cousin Eddie (Randy Quaid), who steals the picture. Nevertheless, with enough sight gags to please slapstick fans and enough good-natured Christmas cheer to qualify as a good holiday film, NATIONAL LAMPOON'S CHRISTMAS VACATION should keep most viewers occupied and provide 97 minutes of goofy entertainment.

A film that's brimming with fascinating ideas and elevated by some memorable performances.

This handsomely photographed, briskly directed sci-fi fright picture is enjoyable enough on its own limited terms.

Visually stunning and breathtakingly frank, but thrill-seekers beware.

Basically a one-joke film, but the joke is a good one.

The performances are rough and sometimes amateurish, but that works in the film's favor more often than it doesn't -- there's none of the false slickness that comes with hot young actors playing rock 'n' rollers.

As a treatment of yet another unexplored corner of the Nazi nightmare, the film is revelatory; needless to say it's also heartbreaking.

The story itself is uninteresting, and the songs are painfully undistinguished.

There's always been a wide streak of the tediously naughty little boy in Besson, and all the seductively stylized images in the world can't hide it.

The film's bright spot is Irish comedian Dylan Moran, who plays Libby's charmingly dissolute cousin and who also happens to be Dennis' best friend. He's fresh, unpredictable and genuinely funny -- everything the film isn't.

For the first time, Allen's trademark shtick sounds less like the anxious kvetching of an endearingly neurotic New Yorker and more like the ramblings of a tired, elderly man fumbling for the right words.

Exorcist III may not have the visceral impact of the first film, but it gives viewers far more than they had any reason to expect.

Loosely based on the novel by Bret Easton Ellis, LESS THAN ZERO refuses to take the risks necessary to capture the keen social observation of the book.

Despite a gimmicky, underdeveloped plot, JENNIFER EIGHT is a moody, atmospheric thriller, featuring several fine performances and marking a promising major studio debut by writer-director Bruce Robinson.

Enjoyable and funny enough.

This is pulp with smarts and a social conscience.

Not only one of the most spectacular cartoons ever made, but also a reasonably adult piece of sci-fi.

Watching Sarandon and Hawn sashay through their paces is its own reward.

Armstrong is fortunate to have the luminous Blanchett, who, along with her equally fine supporting cast, helps compensate for what the film lacks.

Actress-turned-writer/director Asia Argento's angry, outspoken, semi-autobiographical rant of a film is strident and occasionally juvenile, but it packs an undeniable wallop.