Totally daft and a lot of fun.

A caper comedy without chemistry is just a bunch of waiting around for something to get stolen.

When it comes right down to it, TWO MOON JUNCTION could be far, far worse than it is; but given the built-in limitations of this type of film, it can't be any better.

Little Acuna -- who looks even younger than 11 -- gives a sweetly unaffected performance as the beleaguered child.

A hastily assembled follow-up to the surprise smash hit of summer 1992, SISTER ACT 2 is a slapdash affair, with paper-thin plotting and characters more or less redeemed by some winning musical sequences.

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.

Rarely has more high-powered movie technology been deployed to achieve such frivolous ends. Kids seem to love it, while sophisticated viewers may find it enchanting, appalling, or both.

There's a surprising sweetness under its crude exterior.

It's none too deep and a tad cartoonish, but also fast-paced, filled with quotable one-liners and often very funny.

While the King source material forcefully taps into some deep-seated fears, PET SEMATARY (which was to have been directed by George Romero) squanders its potential through the ham-handed direction of Mary Lambert (SIESTA), who continually goes for visceral shocks at the expense of the more deeply disturbing psychological themes inherent in the material.

This new SAW film is so utterly unimaginative it doesn't even count as hommage; it's just a smudgy copy of a still chilling original.

This multiple-twist thriller gets off to a fine, creepy start but eventually becomes too preposterous for its own good.

Where "Pitch Black" relied on shadowy threats and sharply drawn relationships between a small group of stranded victims-to-be, Twohy's bloated space opera is an eye-popping three-ring circus of fabulously freaky costumes, over-ripe declaiming and computer-generated spectacle.

For a movie about all sorts of warm and gooey things -- faith, surrender to wonder, and the possibility of love in a hard, cold world -- it's got a bracingly astringent edge.

Donnie Yen is famous for combining martial arts traditions into his own unique fighting style and Collin Chou, who studied with Sammo Hung, is up to the task of holding his own.

This likable adventure is basically "Lassie" with scales and should appeal to the books' large audience of adolescent boys.

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

A rip-off of ALIEN (1979), this Roger Corman production has plenty of gore and a mindless storyline. A group of astronauts are sent to rescue a stranded spaceship. One is raped by a giant worm, another blows up, and a third cuts off his own arm. The special effects are excellent.

The result is formulaic, shamelessly manipulative and surprisingly watchable.

This tale has been told and retold; the races and rackets change, but the song remains the same.

It may be nearly 40 years past due, but it was worth the wait.

There's at least one ending too many, Union regularly vanishes for long stretches of the movie, and director Michael Bay's unmitigated pandering to viewers who whoop with glee whenever someone gets it between the eyes is genuinely distasteful.

Throughout the film, doors slam, windows shatter and poor, battered Betsy wakes up screaming with tiresome regularity; even Sutherland appears bored by it all.

The story is moving, and the animation includes some powerful images, although some of the early scenes depicting the suffering of the mice in Russia may be too frightening for younger viewers.

This forced comedy feels too long, although John Candy's unique manner sometimes overcomes Carl Reiner's flat direction.

Overlong but interesting thriller.

An updated version of the more gritty original, given an inappropriately lush look by director Zeffirelli.

STEPHEN KING'S SLEEPWALKERS is an unusually stupid and tedious film that seems aimed at viewers who have never seen a horror movie and will therefore be shocked and surprised by the idea that such apparently nice people as Mary and Charles Brady could be murderous, shape-shifting energy vampires.