A peculiar and oddly haunting achievement.

The film's rather shallow treatment of his art only reinforces the long-held opinion that Hockney is more a brilliant visual stylist than an artist of any great depth.

It's a dumb movie, but it's good for a few profoundly undemanding laughs.

A generally disappointing film, with only Bolger and Wynn to recommend it.

The film was a big hit at the box office, but, although the series would produce one more episode, the fizz was definitely gone.

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

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

Director Jack Sholder is a whiz at coordinating the traffic in the many catch-me-if-you-can-or-explode sequences, which provide a visceral thrill to appeal to the six year old in everyone, but which must be balanced against the lame story, offensive ethnic stereotypes, and perfunctory acting.

Hicks smothers the story in portentous images and the obligatory memory-inducing soundtrack. The effect is like peering at a photo through layers of shellac: evocative but remote.

Coppola's awkward screenplay never finds its tone -- or perhaps it deliberately evokes the pulp conventions of WWII adventures, horror films, weepy melodrama, psychological mysteries and superhero origin stories as a way of evoking the fundamental artificiality of the cinema. Either way, it never comes together into a cohesive whole, and is seriously undermined by Roth's morose performance.

The story line is as direct as can be, and little time is wasted with extraneous subplots. Very effective use is made of the location, a decaying old school building that would give anyone the creeps. Good performances by Scuddamore, Iannaccone, and veteran B-movie starlet Munro further enhance the film. The effects are rather good but not too gross, tending to be near-comic.

Unfortunately, this visually sumptuous epic is the very definition of a "prestige production," swaddled in good taste and better intentions.

This feverish drama examines issues of faith and redemption through the practice of prayer intercession.

Paper-thin.

Director Arthur Penn uses every trick in the horror book to pull this one off, but nothing really works, including his accent on scary noises. Everything is forced, contrived, and not too neatly lifted from other classic doppelganger films.

It's a sorry state of affairs when a goldfish and a frog (Ginger's prize specimen, unsubtly named Casanova) have more chemistry than a romantic comedy's human leads.

One of the first American films to present the philosophy--rather than just the warmongering--of fascism as a danger, WATCH ON THE RHINE is rather dully helmed by stage director Shumlin, who too often fails to avoid the static pitfalls of so many play adaptations.

The film basically follows Moore and Slater's book, but without the details that reveal the strange complexity of the Bush-Rove symbiosis.

Cynical and bloated, Maverick is a comic western whose high-powered cast does very little but looks damned fine doing it. Even fans of the vintage TV show may find it trying.

The result is 93 very long minutes' worth of admirably committed actors putting themselves through the emotional wringer to very little end.

This thin chronicle of bad behavior among the rich and self-obsessed is above all painfully derivative, borrowing wholesale from Theodore Dreiser's "An American Tragedy" and echoes Allen's own "Crimes and Misdemeanors."

Neither as dull nor as insufferably smug as it could easily have been.

Vallone's production design is a knockout--the film is weakly scripted and scored.

This handsomely photographed, briskly directed sci-fi fright picture is enjoyable enough on its own limited terms.

During its opening scenes, Under Siege threatens to achieve something like Die Hard's blend of wit, ingenuity and action, with Jones and Busey making highly entertaining, creepy-funny villains. Once the stolid Seagal takes over, however, we settle into a predictable high-tech groove of explosions, gunplay and gore.

Fairly lackluster Disney effort is saved by Niven's great performance.

Heartfelt but only intermittently interesting documentary.

Q&A is a pungent, graphic drama sabotaged by a stupid romantic sub-plot, misjudged casting and a truly abysmal soundtrack.