Larter just doesn't have the same bite as the bunny-killing stalkers of years gone by.

Ken Russell applies his rococo outpourings to Pete Townshend's rock opera and botches not only the visuals but the fine score.

Lots of gore and some decent artistic effects may keep audiences interested; if not, then the scantily clad.

One of the largest wastes of money ever. More than $33 million was spent on this futuristic version of THE DEFIANT ONES or HELL IN THE PACIFIC, both infinitely superior films. The basic flaw is that its premise is older than your great-grandfather's hat.

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.

Written by Fraser Clarke Heston, son of Charlton, THE MOUNTAIN MEN is a mindless, bloody pseudo-western purporting to show the last days of the fur-trapping era.

Judged against other martial arts pictures, GYMKATA is technically superior and more intelligently written and directed, but that still doesn't make it worthwhile viewing. The film has only a minimum of credibility or intelligence, but since these qualities have little or no place in the genre, that becomes irrelevant, leaving pure action--kicking, punching, and the snapping sounds of breaking bones--as the main draw.

We're treated to endless scenes of women getting slammed, thrown and clothes lined, while men's genitals are grabbed, groped, stroked and tasered. It's all just as painful as it sounds.

Sure, there are a few funny moments here and there with several obviously intended jokes, but director Richard Fleischer never milks the elements of self-parody for what they're worth.

Landis' direction is indulgent, to say the least, with big landscapes, big crashes, big hardware, and big gags filling the screen. What he forgets is character development, that all-important factor that must exist for comedy to work well.

The musical number that runs during the closing credits funnier than anything that precedes it, which isn't saying much.

Peter Fonda's cameo appearance is a cute fillip, but hardly worth the wait.

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.

Outside of Fonda's minor role as an executive and Huston's equally small part as a newspaper reporter married to Winters, there isn't much to the ultraboring TENTACLES.

Although Russell and Williams have good rapport, Williams' unique improvisational talents are restricted by the script (save for the hilarious training sequence), and the film suffers for it.

An all-star, all-stupid comedy attempt that proves, once again, no actor can triumph over bad material.

This lackluster tale of redemption has violence aplenty and an undercurrent of humor.

First-time writer-director Ryan Shiraki's crude, gross comedy of campus sexual errors might push boundaries better were it not so painfully unfunny.

The material played upon all the best aspects of the socially conscious movements of the 1960s, and then perverted them by preaching that violence is indeed the solution to problems as long as it's for the right cause.

Kristofferson's performance is as monotone as his singing, showing few changes in dramatic emphasis. Unmotivated story riddled with confusion and disarray.

The best thing about this forced film is the special effects at the finale.

With cheesy special effects (even the volcano isn't convincing, considering the film cost $20 million) and a hole-ridden script, this film offers precious little to like.

Director Milius is wholly unconcerned with portraying the criminals of the 1930s as they really were, mixing up facts and fiction in a tasteless stew of violence, blood, and human gore.

Bad teen film unredeemed by aspirations toward significance.

With even less plot and cheaper production values than usual, this is comedy for catatonics that will bore even fans of past entries in the series.

Big, dull, and noisy, this comedy-romance has chases galore, but its comedy is flat and its romance is grating and graceless.

Ambitious though it may be, this fourth entry in the HELLRAISER saga is easily the least of the film series.

Instead of the witty, intelligent script needed to pull off an interracial buddy story, however, the scenario for this film is an obvious lift from RAIDERS and a flat, uninteresting piece of writing, occasionally interspersed with embarrassingly sappy affirmations of friendship.