The film attempts to pay tribute to vintage rock music--most of the songs are covers of golden oldies. But the renditions are so uninspired, the tribute falls flat.

Candy manages to squeeze a few laughs from the crude and cliche-ridden script, but Paul Flaherty directs broadly and obviously, with little feeling for comic pacing.

Dennis Hopper's knockabout direction makes CHASERS an engaging action farce; his intelligence and sensitivity make this modest military comedy more memorable than most.

Much of the dialog seems improvised, with erratic results. Director Hal Ashby's cut of the film was chopped by Paramount and by producer Schaffel and writers Voight and Schwartz, and it came up weaker for it. In spite of having problems, however, the film is not a complete turkey.

Renaissance Man is an exceptionally unoriginal comedy with a heart-tugging streak as big as Fort Bragg, but it succeeds perfectly well on its own unambitious terms.

The first full-fledged Indian musical coproduced and distributed by a major Hollywood studio, this fanciful love story takes its unlikely inspiration from Fyodor Dostoevsky's short story "White Nights."

Unmotivated, often plodding, and singularly without humor, this film could have been terrific.

Director Moshe Mizrahi (best known for his 1977 Oscar-winning feature, MADAME ROSA) fails to make much of the narrative's potentially fascinating time and place, other than throwing out a couple of token observations about British colonial rule.

Hero claims to be a gentle, playful parody of the action/adventure genre, but comes off as a mercenary attempt to cash in on summer movie-going habits.

Wang's film doesn't really have anything more to say about power, manipulation and the wild unpredictability of sexual energy than "Last Tango" did 30 years ago.

Appears to be a complete about-face for Kitano, and yet it's unmistakably his, both stylistically (the film is gorgeous to look at) and thematically.

It's vulgar, to be sure, but it's also brash and invigorating.

To an outsider, it's pretty thin stuff.

Based on the popular television series, Twilight Zone--The Movie is a frightfully lopsided omnibus that begins with two wretched episodes by John Landis and Steven Spielberg and finishes with an engrossing pair by Joe Dante and George Miller.

Its power lies in the intense, subtle performances of the ensemble cast and Bellott's ability to keep the tangled narrative threads from becoming a knotted mess.

Full of cheap disability jokes, stupid car chases, and boring shootouts, and none of it is very entertaining. Wilder and Pryor struggle mightily to pull it off, but the comic duo are capable of much more than this gimmick-filled rubbish allows.

The film is merciless in its depiction of death and suffering, Pitt and Corbet are perfectly cast, and Watts, who also served as executive producer, gives a disturbingly raw performance.

Smith has changed a few plot points around to keep readers who already know the secret of the ruins guessing, and to some extent the strategy works. There was, however, no reason whatsoever to change the book's perfect endings.

Heartwarming is not always a bad thing.

The offbeat cast and gorgeous Barcelona locations can't quite make up for the thinness of the mystery and forced quirkiness of the characters and their tangled relationships.

While it may not be "Citizen Canine," Rise of the Lycans tells its tale competently and without the derivative nature of its predecessors.

Toothless satire punctuated by the occasional biting gag.

Neophytes may be baffled by the film's weirdly sentimental streak -- the vendetta that drives antiterrorist Van Damme and his nemesis (Rourke) is all about babies -- but by the time Rourke has mined the Colosseum (yes, the Colosseum) and sicced a Bengal tiger on Van Damme, the wise viewer is just sitting back and enjoying the show.

Although sporadically funny and not quite the disaster it was initially made out to be, this ROBIN HOOD robs gags from other films while giving the poor viewer far too few laughs.

Falk is as good as ever and the rest give it their all; you couldn't ask for a better cast, just better material.

Fascinating but thoroughly unbelievable.

This stirring if slightly overlong saga of England's WWII defense of its homeland features a staggering, star-studded cast, who abet the film's docudrama style with excellent portrayals down the line, despite the restrictions of their roles.

Spike Lee's newest is really a surprisingly vivid dramatic study of an aspiring actress in moonlighting hell.