This is one of Lewis' lesser efforts, with his appearances on the Ed Sullivan Show drawing the only real laughs.

The film's only plus is some superb ski photography.

Everyone involved seems to have been operating from the presumption that gross and blasphemous equals hilarious. Would that it did.

Figgis again aims for sensual moodiness, but so many clashing tones clamor for the viewer's attention that the result is a noisy mishmash.

Crammed into 130 minutes of screen time, Le Carre's story loses much of its motivation, and although there is plenty of action and suspense, often it seems that the action is happening in the wrong places to the wrong people.

Film Ventures International (FVI) specialized in turning out cheap imitations of big blockbusters. When The Exorcist came out, FVI followed it with Beyond the Door; while Jaws was a number one money-grosser, FVI came out with this film, replacing the shark with a 15-foot bear.

A shapeless mess that falls far short of the high expectations created by Lee's first feature, SHE'S GOTTA HAVE IT.

Not so much a sequel as a reworking of old nonsense, CLASS OF 1999 is a thuddingly dull B movie that borrows its few thrills from other, more satisfying films.

Another failed attempt to make Tom Selleck a movie star, this is a handsomely mounted but vapid western that lumbers across the screen for two hours, providing little entertainment.

Talented though he is, Arkin cannot fill Sellers' shoes, especially when hampered by a script which relies on cheap laughs and lots of accidental death, and Yorkin's pedestrian direction.

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.

An excruciating series of gags aimed at kids old enough to think it's funny when a grown-up acts like a small child.

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

The film lacks any suspense or drama, and the special effects are not that special.

Fred Zinnemann waited 40 years to make this surprisingly lifeless film, a major disappointment from the acclaimed director of High Noon and From Here To Eternity.

Witless farce.

[A]confusing, silly story.

A ridiculous and totally insipid film.

The film features a great cast and is adapted from a funny and moving book by Joseph Wambaugh, but the result is an abysmal, disjointed mess.

Alien Trespass needs to be buried for another 50 years and then unearthed to be studied for how tributes can go oh so wrong.

Frequently brilliant director Boorman--always an interesting visual stylist--falls flat on his face with this pretentious piece of science-fiction claptrap that presents its dull ideas in such a confused and annoying fashion as to anger even the most devoted fan of the genre.

This could have been--and is--a very funny film; unfortunately, most of the laughs are unintentional.

All in all, it's a pretty offensive movie, especially to the Americans who fought in Vietnam.

Ultimately it's all too predictable.

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.

A lifeless and sophomoric attempt at romantic comedy that draws on the fantasy films of old Hollywood but fails miserably.

Knowing is the path to eternal pain.

If you liked camp, you may like this film. If you hated camp, you may also like this film. If you like good comedies, you probably won't like this film.