So unimaginative that it's more of a remake than a sequel. Reynolds and his buddies all act as if they're in a home movie as they rehash the same tired gags and dull chases that filled the original.

The plot is a recycled mess, the dialog is awful, and the character motivation is nil, but thanks to Konchalovsky (and a strong performance by Russell), Tango and Cash is not only bearable, it's likable. Responsible for some of the finest films of the 80s, the Soviet-born director brings an insane, kinetic energy to the film that makes for effective action sequences and potent satire. A very smart "dumb" movie.

The film offers some disturbingly misogynist elements as well as a healthy dose of crushing violence. Still, those quibbles aside, this is a fun movie and a must-see for Eastwood fans.

Anyone who understands the meaning of the title or catches all the frog references scattered through writer-director Martin Curland's feature debut will have a head start understanding this confused and confusing comedy.

The film attempts to mock both slasher movies and the mentality that produces them, but its humor is so sophomoric that it's a little like the pot calling the kettle stupid

Equal parts "Mad Max" and "Day of the Dead," this third and supposedly final entry in the Resident Evil franchise is no less derivative than its predecessors but moves along at a brisk clip.

For all the tear-jerking plot twists, it's a glumly dry-eyed affair.

Kenan and Kel share a wonderful comic chemistry that has a lot in common with the anarchic goofiness of Abbott and Costello or Martin and Lewis, leavened with a good deal more mutual affection.

Shot for next to nothing, Buck's film features some lovely cinematography, two strong performances from newcomers Monda and Kelly, and a funny bit by Nancy Daly as Roberta's sweet 'n' sour boss.

This genial little picture, which has been kicking around for more than a year, doesn't have a mean bone in its body.

The obsessive lust that drives Higgins to horrific extremes in Hellraiser was almost enough to carry that film, but Hellbound has no such straw to cling to, and the film collapses into a bloody mess of bravura set pieces that never add up to a satisfying whole.

Regrettably, however, the weird elegance of Chris Van Allsburg's much-praised picture book has been all but lost in translation.

It goes without saying that the humor is vulgar and juvenile.

Yet another totally absurd bout of macho wish fulfillment for those frustrated by the American government and military's inability to deal effectively with terrorism, Iron Eagle is actually more outlandish than most.

Stovall's film could have been a little shorter and a lot tighter.

Silly but not always funny, WILDCATS relies too much on Hawn's familiar screen persona, getting little mileage from the actress' "serious" moments, yet it manages to provide more than a chuckle or two.

It's all as campy as can be and a great time waster.

Director Armand Mastroianni, Marcello's American-born cousin, puts this oh-so-familiar material through its paces without injecting anything remotely resembling wit or personal style.

No one does deranged quite like Kathy Bates (the film's running gag involving Bates and the delicacies of Cajun cuisine is hilarious).

Bright, bubbly and thoroughly inconsequential.

This stylized tale of guilt and retribution is a surprisingly sleek and affecting drama.

A likeable, if somewhat whitebread, farce in the Woody Allen mode about love in the big city.

Puerile, gross and pandering to the lowest impulses of teenage boys.

The young stars have considerable natural chemistry and do their best to make the rehashed material approachable and entertaining while maintaining their kid-friendly images.

Danner, whose Dina actually resembles a human being, would be its saving grace if her gracefully controlled performance weren't lost in a sea of braying caricatures.

A slack combination of faith-based inspiration and broad 'hood comedy.

An aimless and unexciting science-fiction story about a computer scientist, Segal, who undergoes brain surgery and is transformed into a maniacal murderer.

This could have been trashy fun, if it had moved along briskly a la CLASS OF 1984. But it's self-important and dreary, marred by murky cinematography and painfully unconvincing pauses for character development.