Stovall's film could have been a little shorter and a lot tighter.

One promising note, however, was that the character of Freddy Krueger had recovered some of the evil edge he lost in previous installments.

It lacks the emotional impact and suspense of its predecessors and is spoiled by a disappointingly inane ending. What ultimately saves the film are its extraordinary sets and phenomenal Oscar-winning visual effects.

As senseless as the story is the film contains several memorably creepy scenes, as is to be expected from any film in which mannequins spring to life.

YOUNG GUNS is simply not a very good movie--western or otherwise. Fusco's script provides little character development and muddies the narrative with some unlikely supporting characters. Still, it proved to be popular enough to lead to a television spinoff and a sequel in 1990.

Not even the always reliable Diane Lane can save this one.

This early Hitchcock talkie shows none of the mastery that would subsequently make the director an internationally recognized genius.

The plot is much the same as in the Ernst Lubitsch original, with everything played for laughs and Brooks at his funniest in impersonations of Nazis. What's missing is the relevance of the 1942 film, released while Germany occupied Poland.

Not a terrible movie exactly, just a dark, edgy idea relentlessly worn down into mildly diverting blandness by the mega-wattage presence of stars Mel Gibson and Julia Roberts.

This otherwise amiable family film plods whenever the action returns to dry land.

This curious blend of fact and fiction is ultimately worth the trip -- just don't forget to pack the Advil.

This failure is especially surprising because Zwigoff not only reunited with "Ghost World's" writer, ingenious graphic artist Dan Clowes, but he aimed to satirize a rarefied sphere both know all too well: the art world.

This by-the-numbers (no pun intended) psychological thrill ride is efficient and utterly soulless.

We'll bet you our measly paycheck that UNDER SIEGE 3 is set on an airplane -- although, given the precipitous downward trajectory of Seagal's career, a moped or a pair of in-line skates isn't out of the question.

Funny but far-fetched entertainment from director Minnelli, who doesn't need to rely on strange plot devices to make a good movie.

It's a chamber piece that probably should have stayed where it started, in regional theater.

Nathanson's script has a disheartening let's get on with it air, and the film feels like marathon training...

Most of what goes wrong here can be blamed on the script, which provides little of the smart and snappy dialog needed to pull off a film like this.

Fans may be disappointed that some of the show's secondary characters, like Lizzie's pal Miranda, are AWOL from this Prince and the Pauper-style escapade, and some of the scenes involving Gellman are disappointingly flat.

In real life the opportunity to make amends is rare, though the attempt may produce great art. In The Kite Runner, we get neither.

Writing, directing, and starring in WISDOM, Emilio Estevez was in over his head. It's a well-intentioned project that shows a certain promise and visual flair, but fails to come together as anything more than an expensive film-school thesis project.

A perfect example of how a top-flight cast can compensate for unimaginative filmmaking.

This slick remake of the ebullient original falls short of being the film it could have been, despite the presence of master filmmaker Wilder and his engaging costars.

A frustrating lack of details compromise this much-needed look at how the promise of American diversity failed a community of Somali refugees in a large Maine town.

Pacino is a one-man three-ring circus, blustering, capering, cursing, raging and weaseling his way through this predictable morality play like a trickster Satan on speed.

What it lacks are the dramatic underpinnings and emotional core that made the original film an engrossing mystery as well as a cinema classic.

Good direction and fine performances keep the pace of this lengthy film moving and prevent the material's descent into maudlin sentimentality.

Ultimately, LEGEND--a pet project of Scott's that took years to research, shoot, and edit--is done in by the director's ambition. What might have been a pleasantly innocuous children's story becomes an enormous, lumbering FX machine into which the actors, particularly a nervous Tom Cruise, seem to disappear.