An updated version of the more gritty original, given an inappropriately lush look by director Zeffirelli.

Part of the problem is its length; at two hours and ten minutes it meanders rather than building up a head of steam and barreling straight through logic and plausibility on the way to Hell.

While the subject is potentially fascinating, Gosling's unfocused, sluggish film is a case study in missed opportunities.

An uneasy mix of frat-boy yocks and "Twilight Zone"-style science-fiction.

There are poignant moments in this apocalyptic "what if" exercise.

By recreating things too well, the film itself becomes as boring, indulgent and over-stuffed as its hero.

Although Benton's plentiful homages to Alfred Hitchcock are well handled, the major problem with this talky picture is that there's plenty of suspense but not enough mystery.

Well-written and surprisingly well-acted by a relatively inexperienced cast

The entirely computer-generated Hulk is a surprisingly expressive creation — it certainly gives a better performance than Connelly — but the action is late in coming and feels like a long set-up for the inevitable sequel.

The huge cast seems to share in the sense of confusion, and what might have been an excellent treatment of an important story merely falls flat.

Basically, the feeling one gets is that there was so much musical material left from THAT'S ENTERTAINMENT! that they just threw the rest into PART II, and then decided to expand on it with comedy and drama in order to be able to show The Marx Brothers, Greta Garbo, and others.

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.

The banality of faceless evil isn't actually all that compelling on the hoof; the film's more interesting as a curiosity than as a film.

Grisham's characters are rudimentary, and both Roberts and Washington are stiff and over-earnest.

The pre-credits sequence, featuring a variety of old-school snack treats performing a speed-metal number about courteous movie-theater behavior, is flat-out hilarious and deserves to be played before all R-rated films.

Though Kiser makes the zombified Bernie equally funny, WEEKEND AT BERNIE'S II spends too little time with him, and too much getting bogged down by subplots: two mob pawns' bumbling attempts to steal Bernie's corpse; Hummel's tailing Larry and Richard through St. Thomas, only to be arrested time and time again; Larry's failed romance with an island native whose physician father is, conveniently, versed in black magic; and Richard's being poisoned by the voodoo queen.

Fifth entry in the "Dirty Harry" series, a definite step backwards from the fascinating and ultimately disturbing progression of Eastwood's character in Sudden Impact.

There was little room for Hitchcock's usual humor here, nor is there even much suspense.

The Japanese sneak attack that plunged the US into WW II is lavishly and fairly accurately, if not enthrallingly, brought to the screen in this Japanese-US coproduction.

The movie was a misfire despite the presence of many of filmdom's best talents. Diamond's adaptation fails to provide any new wrinkles to the tired plot and Gene Saks's direction is only as good as the material he's been given.

Still passable popcorn fare, even if you'll barely taste it before swallowing.

The third Star Trek film is not as good as the second, but it's reasonably entertaining fare for non-fans.

An odd blend of recycled American exploitation movie tropes and snarky Euro-art film attitude.

This one combines elements of AMERICAN GRAFFITI, GREASE, and PORKY'S with a liberal dose of TV's popular sitcom Happy Days.

Some of the humor is pretty raunchy (there are quite a few sex-related scenes and jokes) and tasteless. Adults old enough to appreciate the choice electro-boogaloo soundtrack and get the "Mr. Roboto" jokes will doubtless find the rest of it painfully dumb.

Surprisingly cohesive.

It's only too bad nobody lectured the producers about creative cowardice. If someone had, Another 48 Hrs. might have been another good movie instead of just another damned sequel.

This follow-up to THE MUPPET MOVIE and THE GREAT MUPPET CAPER is not as good or as hip as its predecessors, but the Muppet gang remains fairly charming.