Take out the weak acting and what's left in this sequel to Enter the Ninja is a fairly good display of martial arts.

Shot as "Backwater" and test-screened as "The Reaper," this film contains a couple of bracingly mean sequences, but it cleaves so closely to the slasher-movie formula that it can't muster up any suspense at all.

Ritter lacks the charisma to bring his role off, the slapstick is tiresome, and Edwards' script fails to generate sympathy for Zach or to develop characters.

More a standard haunted-house comedy than a parody of FRIDAY THE 13TH, this uninspired farce rarely succeeds...Pitifully childish on all counts, SATURDAY THE 14TH really doesn't contain anything fresh or funny, save one gag in which the gill man emerges from a bubble bath.

There's nothing very new or original in this dull sex comedy.

Director Michael Cimino turned YEAR OF THE DRAGON, an engrossing novel by Robert Daley, into a confused, overlong, preachy, and at times downright annoying crime epic with a wholly unsympathetic main character played by the totally miscast Mickey Rourke.

Burt Reynolds hits new lows as he mugs his way through this film as Stroker Ace, a race-car driver who's under the control of chicken-franchise owner Clyde Torkle (Ned Beatty). The script is filled with good ol' boy humor and car crackups.

The lesson is that money can buy a vanity project, but it can't buy talent, imagination or an audience.

This time around, expect more of the same -- a tedious, muddleheaded tale about a malevolent spirit haunting cyberspace -- with somewhat tastier special effects.

Levy can't seem to tell if something is funny or not and keeps up the sledgehammer intensity throughout every scene, comic subtlety and timing abandoned in a desperate attempt for laughs--even pained ones.

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

Rocky IV is a far cry from the delights (both large and small) of its illustrious original.

What was a subtle farce when directed by Yves Robert in French becomes an overstated comedy here, with all the actors hamming it up to no end.

Enjoyable in a foolish way as Dickey performs amazing acrobatic feats while slicing up dozens of people with her sword. This film constitutes more slick exploitation from schlockmeisters Golan and Globus.

A preposterous misfire.

If your tolerance for repetition in genre films is already low, this one will probably push you right over the edge.

Ali G Indahouse simply revels in mainstream inanity, doing its incremental bit to dumb down the popular movie going experience and encourage rampant stupidity. There's nothing funny about that.

An anemic adventure that epitomizes generic feature animation.

Fans will clap along with the many songs, but the tunes aren't interesting enough to win over the unconverted -- a fact made clear when genuine teen star Taylor Swift shows up to perform -- she demonstrates all the spontaneity and authenticity that Miley Cyrus lacks.

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.

Viewers are spared nothing as Steve Burns undergoes degrading brutality after brutality; virtually nobody is portrayed sympathetically.

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.

Sure, the humor is witless and the gags are often inane, but, given the quality of its predecessors, POLICE ACADEMY 3: BACK IN TRAINING has the dubious honor of being the funniest of the series to date.

So awash in tired ethnic clichés that the story drowns.

Certainly, it's gross, and maybe even a bit shocking, but these filmmakers are smart enough to realize that raising the bar on crassness in teen sex comedies is a zero sum game.

Jack H. Harris, the cheapie producer who went on to make the forgettable Mother Goose A Go-Go, struck it rich with this silly picture that gave McQueen his first starring role after a few supporting jobs in Somebody Up There Likes Me and Never Love A Stranger.

An innocuous comedy chiller, HAUNTED HONEYMOON isn't very chilling and, worse yet, isn't very funny.

Because of their restricted movements and expressions, we never believe for a moment that the creatures exist, thus making the film an utter failure.