The film will mostly be remembered for Bisset's wet T-shirt sequences.

An occasionally brutal, but generally plodding western from Lancaster (his first as a director), who fails to pump much life into the anemic script, giving the cast little to do.

Silver Streak is a throwback to the screwball comedies of the 1930s but with none of the verve or the motivation needed to get an audience to swallow the shenanigans.

Although it's possible to enjoy isolated sequences of LIONHEART, this is not one of martial arts superstar Jean-Claude Van Damme's better kick-ass vehicles. Sleekly produced and densely plotted, it lacks the excitement of the earlier Van Damme flicks which had a less calculated aura about them.

Excessively gory, FORBIDDEN WORLD nonetheless has several well-directed suspense scenes, and its special effects are impressive for a low-budget effort.

Knowing is the path to eternal pain.

A riot of artfully grungy hotel rooms, sleazy costumes and sordid behavior, Allan Mindel's directing debut gives off the smug air of hipsters at play, making it hard to care what happens to any of its lost souls and inept opportunists.

The film is carelessly directed, paced, acted, and scripted, offering today's teenagers, at best, a confused message. Foremost among its endless problems is Avildsen's pathetic direction. Under his uninspired guidance, the actors appear to be performing in filmed rehearsals, guilty of glaring character inconsistencies from one scene to the next. The cliche-ridden story throws in every possible obstacle to the young couple's happiness.

Surprisingly entertaining, if less than original.

Once the star of some of the finest movies of the '70s and '80s, Keaton has begun making just this kind of chick-flick comedy with increasing regularity at least since 1996's "The First Wives Club," and it's gotten so she's not even trying to get into character anymore.

Breezy and eminently watchable.

Sporadically funny... occasionally very funny.

Fans won't want to miss this addition to the canon.

A surprisingly shoddy affair that abandons the unabashed romance of its predecessor for a rudimentary action-adventure plot involving guns and drugs.

This lackluster sequel forgoes everything that made the original a superior horror film in favor of simplistic genre cliches.

Though the film contains many haunting images, the absence of a solid emotional foundation makes its increasingly preposterous story developments feel arbitrary and ultimately pointless.

Gorehounds will likely be pleased by the graphic bloodletting, but there's little else of interest here.

Director Mike Barker has delivered a film that proves there's life left in the old genre yet, and does so with style, intelligence and surprisingly little violence.

This movie misfires in its attempt to combine a children's dog story and adult comedy by pairing Benji and Chevy Chase. Silly and slow-moving.

There's no accounting for the success of this over the failure of Eastwood's infinitely superior Bronco Billy. The year 1978 was the year of heavy pictures, with The Deer Hunter, Coming Home, and Midnight Express. Perhaps people just wanted to sit back, eat some popcorn, and have a good old evening of cheer and laughter.

Smith brazenly ignores plot conventions and concentrates on an apparently endless stream of crude and occasionally clever one-liners.

An entertaining piece of good ol' boy fluff with plenty of car and boat chases.

Bummer, dudes. Longtime fans who expect the fun lingo and pizza-gobbling Teenage Mutant Ninja Turtles of the past may be shocked by director Kevin Munroe's reimagining of the popular kiddie series.

She's Having a Baby could have been a fascinating and funny look at the conflict between marriage and personal ambition had its writer-director probed more deeply into the subject. Hughes instead falls back on the easy jokes, hip music, and superficial character studies that have obscured the basic viability of all his work.

Although billed as a sci-fi film, HARDWARE is unquestionably a horror. In his calculated enthusiasm to shock, first-time writer-director Richard Stanley has filled the screen with gratuitous violence and psychosexual perversion but failed to present a plausible, reasonably coherent plot.

Bynes is a charmer who adeptly straddles the line between romantic heroine and physical comedienne, while Firth is extremely enjoyable as a befuddled father.

Beneath the heavy accents, wild gesticulating, slaps to the head and garish flocked wallpaper, there's an awful lot of heart.

The final irony is that it's tailored for a PG-13 audience: The violence is bloodless, the sex is all come-on and the surreally reckless stunts cater to viewers too young to drive.