Though it is silly, sleazy, and graphically violent, The Toxic Avenger does hold a bit of warped charm for fans of this sort of thing.

Written by Fraser Clarke Heston, son of Charlton, THE MOUNTAIN MEN is a mindless, bloody pseudo-western purporting to show the last days of the fur-trapping era.

If Michael Wincott -- who under normal circumstances can chill your blood just by breathing -- can't make the villain compelling, you know the movie's in trouble.

Without Azaria's comedic gifts, the movie would be close to unendurable.

A sly, self-mocking sense of humor is apparent even in Robocop 2's title, which identifies both the film's sequel status and its hero. And what a fantastic nightmare creation Robocop 2 is.

Israel Horowitz's script fails to develop sympathetic adult characters, leaving the children to give the film whatever charm it may have.

Written by Tom Holland, who would go on to write and direct FRIGHT NIGHT and CHILD'S PLAY, the script does a nice job of translating the awkwardness of adolescence into a horrifying event.

Funny but far-fetched entertainment from director Minnelli, who doesn't need to rely on strange plot devices to make a good movie.

The result is a glossy, engaging suspense film that jettisons much of its predecessor's sadism and subtext in favor of crowd-pleasing revenge violence.

Believe it or not, this fantastic story (of a close encounter of the worst kind) ultimately proves to be pretty uninvolving, relying on the quality of the performances to maintain interest.

As provocative as Michael Moore's "Fahrenheit 9/11," but nowhere near as engaging.

Misbegotten mess.

The first two thirds of the screenplay by Aja and cowriter Gregory Levasseur is a relentless exercise in bare-bones nastiness.

Too disturbing for most children, too suggestive of cornball kiddie fare for most adults, this oddly affecting film is unlikely to capture the audience it deserves.

There seems to be a message here about being true to yourself, but it's hard to find it under the blubber jokes.

It's not nearly as funny as "The Waterboy" and has little of "The Wedding Singer's" goofy charm, but die-hard Adam Sandler fans -- whose numbers are legion -- will find plenty to laugh at.

An extraordinarily predictable and uninviting western directed by McLaglen in the John Ford vein but with none of the Ford atmosphere, complexity, characterization, or inventiveness.

A few effectively directed sequences and special makeup effects by Tom Savini (most of which were cut to avoid an "X" rating) are the only reasons to sit through this terribly familiar material.

Vonnegut's brand of juvenile surrealism...doesn't age especially well...but it could hardly be worse served than to be brought to the screen with such ham-fisted literal-mindedness.

This melodramatic action opera is a lurid love letter to the guns and poses aesthetic of Hong Kong action cinema.

Moooove along, there's nothing to see here!

A spoof of "political correctness" on campus, PCU is a sanitized rip-off of NATIONAL LAMPOON'S ANIMAL HOUSE that's neither smart enough to qualify as satire nor offensive enough to entertain.

Sax keeps things moving, but the best thing about the film is the British cast.

Aggressively non-linear and heavy on the visual flair, Mike Figgis' allegorical voyage through the mind of a filmmaker alternates between the tawdry, fake sophistication of fancy perfume commercials and an unholy regurgitation of the worst excesses of European art cinema.

Although the film fails at a number of levels, most acutely in never making us care much about any of the characters or their problems, it possesses a loopy charm that makes it a pleasure to watch.

First of all, it has no music. That aside, it doesn't have any wit, joy, or drive. Children who haven't had the pleasure of seeing The Wizard of Oz might enjoy this film, but it will also frighten them. There are some fine, Oscar-nominated special effects, but the excitement just isn't there.

Neither a conventional documentary nor a work of complete fiction, Hammer's film constructs a secret history, part imagination and part reality that is both revealing and slyly entertaining.

Hard though this antic farce tries to be outrageous, its satirical jabs at American culture are obvious and juvenile, as is the use of Jimmy's plastic bubble as a goofy metaphor for fear of life.