Besides featuring some of the same actors in the same roles, what this six-gun sequel has in common with Young Guns is that it is wholly unmemorable.

The film's longer running time means more dead spots and the more elaborate stunts demand tighter scripting and less room to improvise, which is a shame since improvisation is the Reno's gang real strength. Forgiving fans, however, won't care a whit.

Bill Murray plays the secondary role of a nameless American gag writer brimming with one-liners about the absurdity of Cuban life, Dustin Hoffman has a cameo as kvetching gangster Meyer Lansky.

If you don't care about the characters, then everything's just a big, dumb joke.

The sky-high sleaze quotient -- lascivious priests, amateur porn movies, teenage hustlers and institutionalized corruption of every kind -- ought to guarantee fun for all, but heavy messages keep poking through and spoiling everything.

The generally competent B-list actors are hobbled by cliché-ridden dialogue but do their best to react in remotely plausible ways each time the script nails them with some new melodramatic contrivance.

A sprawling drama about Chicano life in Los Angeles, Bound By Honor contains powerful moments, but characters get lost in the epic sweep.

Ten tumultuous years in the history of the gay rights movement serve as the backdrop for this warm, engaging romantic comedy.

It's dramatically unsatisfying.

All in all, it's a pretty offensive movie, especially to the Americans who fought in Vietnam.

Frantically busy, largely laugh-free.

Despite considerable production support and a relatively high budget (it was shot on location in Ireland and on a massive interior set at England's famed Shepperton studios), this is easily the weakest effort in director-screenwriter Jordan's solid career.

In spite of its harmlessness and enjoyable supporting cast, Oscar is irrefutable evidence of the cynicism and insularity of Hollywood power brokers and hack filmmakers.

This unnecessary and overlong sequel fails to recapture its predecessor's zing.

Light, formulaic and soft around the middle.

Canadian-born choreographer Alison Murray draws on her own experiences as a 15-year-old runaway living in squats and on the streets, in her feature-filmmaking debut, which is a clear-eyed look at the pleasures and price of abandoning conventional mores for experimental lifestyles.

Crisply stylish and suspenseful, making brilliant use of optical special effects, Predator is one of Schwarzenegger's best.

The few good lines go to Kristofferson and the ever-amusing Kier, but Snipes's considerable energy is buried under an affectless, Terminator-style demeanor.

Supervixens is primarily for Meyer cultists, and even they may be put off by the film's length and excessive violence

Until the patently preposterous finale (you can just hear the studio suits saying, "Ya gotta make it big"), the miserable perils faced by the damp, sooty, squabbling motorists are claustrophobically convincing, assuming you accept in the first place that they escaped a fireball that looks as though it should have fried every living thing between the New Jersey and Manhattan shores.

There are some genuinely chilling scenes, but it is still a made-for-TV-ish ROSEMARY'S BABY rip-off.

You can see the outline of an interesting movie beneath the cutesy-pie characterizations and heavy-handed mockery of small-town small-mindedness, but any chance it might have had is short-circuited by director Griffin Dunne's overwhelming inability to establish a consistent tone for the admittedly off-kilter material.

If it's not an entirely wholesome portrait of the immigrant experience, it's certainly an entertaining one.

Strident and bombastic.

Even the teens at whom this plodding and predictable romantic comedy is clearly aimed are unlikely to be swept away by its contrivances.

Scott swaddles this fundamentally straightforward revenge story in a jumble of bleary freeze frames, random changes of color saturation and film stock, jump cuts and stuttering montages, splashing text from some menacing word soup onto the resulting collage of chicly disturbing images.

Pointed, unsubtle political satire.

The script gives Hall and the other cast members so many foolish things to say and do that the viewer is left wishing that they would all kill each other early on and save us the pain of having to watch the rest of the film.