Director Joseph Ruben's best efforts can't keep Gerald Di Pego's puzzle-picture script from toppling into absurdity as it lurches from melodrama to psychological thriller with supernatural overtones to full-blown exercise in X-Files-style nuttiness.

As an action picture, Missing In Action works fairly well. Norris is a worthy hero, shooting and kicking Asian enemies right and left, and the film is blessed with production values that make it quite watchable.

The ending doesn't really work, and Pla tends to overplay what's already a larger-than-life character, but Neron is perfect as the striking and cucumber-cool countess.

A series of meaningless adventures punctuated with a lot of clanky, very bloody swordplay, Conan the Barbarian is best remembered for a scene in which Schwarzenegger punches out a camel.

The cast, however, is great -- Crudup and Duchovny in particular share a fun chemistry that's just toilet-obsessed enough to be absolutely believable.

William Shatner's comic timing helps him nearly steal the picture.

Though carefully cast and set in the most exotic of locales, the drama lacks any real excitement, the director's glacial style aligning itself all too patly with Hwang's arid rhetoric.

Law-abiding Americans who hand off a solid chunk of their salaries to the IRS might be interested in what filmmaker Aaron Russo has to say on the subject of income tax.

Ruthlessly efficient and utterly predictable.

The movie's uninspired animation (including primitive, blocky computer imagery) doesn't help, nor do its astonishingly stereotyped characters.

Simply a series of set pieces designed to insure Angelina Jolie's status as action-babe pin-up.

Good-natured but overstuffed sequel.

Naim's potential is evident, but his debut is a frustrating exercise in missed opportunities.

Aimed at youngsters, this odd mix of fantasy and disease-of-the-week conventions doesn't really gel, though its ambitions are laudable.

This sequel to 1994's surprise blockbuster is shamelessly stupid, willfully juvenile and generally just plain gross -- which is, after all, the point.

John Gulager's directing debut is horror at its most reductive and least resonant.

A worthy successor to the original movie, NIGHTMARE PART 2 is surprisingly optimistic and moral. The power of love and kindness wins out over evil and violence--something not often seen in modern horror films.

Tony Randel, confirming himself as one of the more talented directors on the '90s low-budget horror scene, orchestrates the buggy mayhem with a good deal of skill.

Even on a purely sentimental level, Free Willy this ain't: The product placements are the most promiscuous in recent memory --perhaps in history -- and all but the smallest children will sense the cynicism underlying this superficially noble shaggy fish story.

Viewers are spared nothing as Steve Burns undergoes degrading brutality after brutality; virtually nobody is portrayed sympathetically.

The terrific soundtrack, which includes the Only Ones' "Another Girl, Another Planet" and New Order's most excellent "Temptation," is heavily weighted towards the '80s, which is exactly as it should be.

Hooper took the easy path and went for out-and-out gore, rather than making a carefully constructed horror film. The film feels as if Hooper himself has nothing but contempt for the original and went out of his way to tear it down.

A hip-hop reimagining of "The Great Gatsby" that fails both as an update of F. Scott Fitzgerald's dissection of American aspirations and class barriers and on its own boorish terms.

Its real star is the picturesque tropical scenery.

With his spidery fingers and his velvet eyes, the lean, languid Snoop Dogg was born to be an undead player, and clearly relishes the role of Jimmy Bones.

They STILL didn't get it right this TIME.

A surprisingly charming fable.

Smarter and more engaging than it has to be.