In its noisy, pointless way, STREET FIGHTER does come close to the frenetic meandering of a video game scenario--which is precisely the problem. Video games are always more fun for the players involved than onlookers; consequently, this whole subgenre seems inherently self-defeating.

The special effects are good, with some nifty computer-generated animation, but they're an empty, ineffective crutch on which to support an entire film--and besides, better visuals had already appeared in THE LAWNMOWER MAN.

Lurches queasily between ghastly broad gags and oddly engaging, character-driven laughs born of clashing cultures and expectations.

The pleasant surprise about Demolition Man is that both the script, and Stallone, are funny; the film blends big-budget action and tongue-in-cheek humor in the way that "last action hero" tried, and failed, to do.

Since BLACK SHEEP was directed by talented Penelope Spheeris (WAYNE'S WORLD), we had some hope that we'd find it marginally less distasteful than TOMMY BOY. We were disappointed.

Audiences flocked to see Kristel bare it all in an R-rated film, but "stunt" double Judy Heldon actually does the dirty work.

It's not an openly meta take on the genre like "Scream," but it's a slasher movie for people who love slasher movies, and if your heart will flutter when a woodchipper casually appears in the first act, it's probably worth watching.

CELTIC PRIDE supplies predictably lowbrow yocks for jocks, and its rather disturbing racial implications go entirely unacknowledged.

The best of the sequels to Carpenter's seminal slasher movie...Directed with flair by Little, who does not blatantly ape Carpenter's style, the movie delivers a number of effective chills without relying too heavily on the kinds of tired tricks and bloody gore that have made this genre a boring cliche.

If not an entirely successful film, it's a bold and haunting one.

The lame gags keep on coming and the mystery is both blindingly obvious and needlessly complicated.

Like Doom itself, the movie is rich in backstory, but sparse in actual story.

Perhaps a die-hard Freudian desperate for a laugh could find humor in this wretched attempt at a holiday heart-warmer. Unfortunately, that leaves the rest of us twisting in the wind.

Despite its ample flaws, Men at Work is never boring and often is a lot of fun; however, it would have benefitted from the pruning of a few of its misfired visual gags, particularly those involving excrement.

Ultimately aimed at a Christian audience looking for genre entertainment with a certain sense of propriety (which partly translates into there being no murders), the film tries to serve two masters and doesn't quite deliver for either.

Director Damiano Damiani occasionally conveys a few genuine chills between bouts of unintentional laughter, but overall the film is a failure.

Lacks a sense of bone-chilling dread.

The resulting collaboration is a strange beast;

The film is at odds with itself, trying to present transgendered characters as resourceful and tough as nails while the plot habitually reduces them to traumatized masochists and helpless victims.

While butching up their hero, Moreton and cowriter Dennis Hensley left out one key ingredient: charisma -- for all his macho swagger, the guy's unbearable.

Ironically, one of the film's best-developed characters is a mouse: The four-legged "Chizzler" actually has a legitimate story arc with a genuine payoff.

Smoothly enjoyable, undemanding entertainment and features a couple of knock-out giant croc attacks.

Gone is the joy and wide-eyed fun of the original; in its place is a hokey, ho-hum story that might have come out of a computer.

Although Death Warrant resorts to several familiar plot devices, its storyline is a little more complex than those of most films of this genre. Moreover, secondary characters like Hawkins and Priest are believable and likable enough that we care what happens to them.

The few minutes of footage devoted to a performance by bona fide jazz artist "Little" Jimmy Scott, an eccentric cult favorite, is more genuinely evocative than anything else in the film

As the mismatched interrogators, Travolta and Nielson seem to be in two different and incompatible movies.

Contains several profanely amusing moments, but they don't add up to much.

This is not a film for neophytes: It proceeds from the assumption that the viewer is familiar with the events and people of Jesus' life, and is probably right in doing so: Its intended audience is seriously Christian.