Though something less than a masterpiece of the genre, this good-natured skirmish in the war between men and women benefits from Hudson's thoroughly charming performance.

If Jean-Luc Godard at his most Maoist had felt compelled to make adult movies, he might have cooked up something like pop-art punk-porn auteur Bruce LaBruce's slab of revolutionary raunch.

Director Ken Wiederhorn is a competent, if unremarkable, talent who handles the action scenes in a professional manner. His writing talent, however, is not equal to that of the first film's writer-director, Dan O'Bannon, and the sequel lacks its predecessor's snappy, biting dialog and O'Bannon's satiric edge.

This light comedy suffers from a weak script, and although Reynolds manages to hold his own against the brainlessness of the material, he can't rise above it.

LIKE FATHER, LIKE SON is idiotic at times, cute at others. Cameron shows a lot of charm, and the movie is a pleasant diversion.

A funny, successful, and very derivative crime-comedy.

Writer-director Curtis Hanson is to be credited for procuring a clever story and offering nail-biting action sequences that build solid suspense. Guttenberg's boyish appearance initially seems wrong for his increasingly forceful role here, but it is exactly that quality that proves to make his unjudicious actions believable. The marvelous French actress Huppert is a standout as the cool, European beauty.

It's earnest, well-intentioned and scrupulously even-handed, in the style of made-for-TV problem movies.

A slam-bang action film with some stunning scenes of mayhem and violence.

It's a deftly executed crowd-pleaser, but it's dishonest to the core.

It's hard not to feel sorry for the high-profile cast, obviously working for brownie points in heaven -- they're so good, yet nothing they do can make the movie fly.

The film never escapes the constraints of its genre, but it's a hell of a ride.

It's impossible to overstate how deeply dumb all of this is, but it skims along at a brisk clip and manages not to overdo the nudge-nudge, wink-wink humor.

Clichés negate bona fides; hence, the movie feels like a corny Mickey Rooney/Judy Garland vehicle with cussing. That said, the tapping is fabulous.

While NECESSARY ROUGHNESS admittedly traverses highly familiar territory, with few surprises, it does deserve to be appreciated as a genuinely entertaining, albeit old-fashioned, college football yarn that's great fun to watch.

The golden shadows of the waning Old West are thrown across the big screen with full reverential treatment in this solid, unsurprising rendition of Jim Harrison's widely praised novella.

The best you can say is that it's all pretty harmless and pretty stupid.

The film rings so consistently false that it's more likely to induce snickers and eye-rolling.

Raoul Ruiz's absurdly overwrought phantasmagoria tries to recast the notorious Viennese artist's life as a kind of Divine Comedy: Inferno.

Mindless fun, though, if you don't look too hard at the effects and are willing to accept the wooden Urich as Errol Flynn or Louis Hayward.

While not as poetic or haunting as Edgar Ulmer's The Black Cat, The Raven is a remarkable tale of revenge, and memorable in its own right.

Amusing if slightly bland comedy in which Colbert and MacMurray uproot themselves from city living after MacMurray decides he can't stand the brokerage business.

The plot has lots of holes, but veteran TV director Rod Daniel keeps the proceedings light and lively, and Belushi does a fine job of relating to a dog as a multidimensional character. Jerry Lee--while no Benji in the acting department--is likable and receives ample help from the film's editors.

Though neither subtle nor particularly original, Gens' spin on the meat-movie classic has both nightmarish energy to spare.

For all its crudeness, Phillips' tale of men behaving badly is remarkably toothless.

Norton's screenplay is predictable and the film suffers from its fragmented narrative. Some interest is provided by an unusual visual approach: the various segments employ separate film processes and aspect ratios in an attempt to supply visual analogues for the characters' situations.

Once it settles down, it becomes a star-making vehicle for Jackman, and a supremely polished example of the sort of swoony love story cherished by women who secretly hope that some day their prince will come.

Professionally produced and surprisingly tame.