The hyperactive Hong Kong action stuff is getting old.

As slasher films go, this is about average. The sets are cheap, with most of the budget seemingly going to the gore effects.

Unforgivably bad, painfully unfunny, and downright stupid, HEAD OFFICE tries to do to the corporate world what AIRPLANE did to the airlines. A needle in a haystack would be easier to find than a laugh in this film--which is surprising, considering that the cast includes such names as DeVito, Moranis, Novello, Doyle-Murray, and Shawn.

A thoroughly uninvolving picture, THE PRESIDIO is chiefly the victim of a horrendous screenplay by Larry Ferguson (BEVERLY HILLS COP II; HIGHLANDER). When it isn't providing mundane dialog, Ferguson's script assaults the viewer with senseless exposition continuously dredged up from the characters' pasts.

The dialogue tries to give Godzilla some higher meaning, but it doesn't know what it wants that to be.

It's familiar stuff if you've sampled the vast body of work devoted to LA-dammerung.

A smug comedy about a precocious child who teaches his deadbeat dad about the true meaning of family, GETTING EVEN WITH DAD is only occasionally funny and commits every sin in the sitcom lexicon.

Tepid action picture that fails to live up to its interesting premise.

Dry, dull, and terribly predictable.

Black comedy requires perfect pitch: Pedro Almodovar has it and cowriters/directors Michalis Reppas and Thanasis Papathanasiou don't, at least by the evidence of this film.

A handsomely produced but unintentionally risible film that mistakes high grotesquerie for high gothic.

Levinson, who has directed enough films to know better, should recognize a stinker of a script when he smells one: Instead clever laughs he serves up sloppy schtick, dead spots filled with lame ad-libbing and Walken crooning "The Happy Wanderer."

This vapid, mean-spirited comedy is Lopez's show, and though she is utterly unconvincing as a paragon of down-to-earth virtues, the last laugh was hers from the outset.

The picture is dull and the pacing abrupt rather than quick. STICK might have been a good movie about 20 years ago, before people became sophisticated and demanded depth in characterization.

Less pretentious than John Milius' Big Wednesday, North Shore is pleasant enough but not very engaging.

Thank God for Brooke Shields: Spitting spite with every remark she hurls at her long-suffering mother, she's a revelation.

The truth of the matter is that, given the thoroughly manipulative, red-herring plot twists that get her to the happy ending, most audience members will have ceased to care about whether she lives or dies long before the matter is settled onscreen.

Keaton and Holmes have some sweet father-daughter moments and the supporting cast gives its all.

Jackman and McGregor are a delight to watch.

Routine military melodrama leads to a satisfactorily explosive climax. But what makes Birds truly riveting entertainment is not the conflict between good and bad guys, but the clash between the film's apparent intent and the loony subversiveness of its performances.

Seriously undermined by its sour tone and an unusually charmless performance by star Chris O'Donnell.

Sitting through this charmless romantic comedy is like going to a restaurant and being seated next to a drunken couple who argue throughout dinner: It's messy, embarrassing and absolutely none of your business, but there's no escape.

It's just plain lurid when it isn't downright silly, and that "drunk cam," a blurred, cockeyed lens through which Sonny's soused point-of-view is shown, is just a terrible idea.

The cliched plot and unconvincing action sequences -- don't blend well with the comic scenes and make the film look painfully cheap.

Though the premise has at least the potential to be funny, TRAPPED IN PARADISE is an indigestible blend of smart-ass TV sketch comedy and syrupy sentimentality.

Indistinguishable from any of the He-Man TV episodes or videocassettes in any aspect other than length, which is probably a moot point at best. This is a ground-out effort designed to please the calculated expectations of He-Man's loyal audiences.

No Holds Barred is paced well, with broadly drawn good guys and bad guys. Somewhat problematic is the murky status of the wrestling fans in the film. The "goodness" of Hogan's character is so markedly contrasted with the grossness of the wrestling-bar patrons that the film actually appears to be criticizing its star's fans--who are, after all, also the film's audience.

Highlander 2 is beautiful. But it's largely incoherent. The film is desperately overplotted; events and years rush by and pile up like cars in an interstate wreck. It's also terribly overexplained.