Neil Diamond (who even reverts to Al Jolson's blackface for one sequence) is wholly unbelievable as the cantor's son who forsakes the synagogue for the bright lights of pop music.

The film leaves the viewer feeling violated and ashamed. Avoid.

Directed by Charles Band, the son of Italian trash-master Albert Band and the head of Empire Pictures, Trancers is on the same subgutter, grade-school-mentality level as the rest of Empire's output.

Although Christopher Lambert repeats his film role as the immortal action hero, he is less dynamic than he was in Highlander or even Highlander 2, The Quickening. He is also far less charismatic and interesting to watch than Adrian Paul of the European television serial. Moreover, in this film, Lambert inexplicably whispers his lines, while the special effects are deafening.

This is a one-idea concept enlivened ever so slightly by fleeting moments of Cohen's patented sociopolitical subtext and goofy black humor.

A dismal affair that reeks of pretentious self-importance.

The mind marvels at the bravery of the person who walked into the producer's office to pitch this idea.

While not as ponderous and overblown as STREET FIGHTER, another video game-based 1994 movie, DOUBLE DRAGON is depressingly lightweight, making constant and unnecessary concessions to youthful audiences at the expense of any real bite or impact.

Raunchy.

The real reason for the existence of this unexceptional film is to show off the artistry of special-effects man Savini.

A textbook illustration of the American movie industry's ability to take an offbeat foreign film and systematically alter or soften every provocative and original thing about it.

Full of cheap disability jokes, stupid car chases, and boring shootouts, and none of it is very entertaining. Wilder and Pryor struggle mightily to pull it off, but the comic duo are capable of much more than this gimmick-filled rubbish allows.

A lovely-to-look-at photo album treatment of Golding's heart of darkness pessimism, this movie misses the point and mood of Lord of the Flies completely.

Dante gleefully trashes cliches and sentimental Capra-esque notions, but one should not forget this movie was given a "PG" rating and cynically aimed to draw an audience of small children who would no doubt be terrorized by this myth-shattering film.

This movie is a reedited version of the television series, with the addition of Sensurround. Just as bad as the failed series. Lorne Greene should never have sold the Ponderosa.

Though the action is competently staged, there's little else in this film to hold one's attention.

The juvenile gags seem aimed at moviegoers who hate the whole idea of independent/art/foreign-language films and the stuck-up eggheads who like them -- so what's the point?

In fact, with no fewer than 17 of Donaldson's favorite rock songs and a complete lack of dramatic impetus, Cocktail would fare better as an extended-play music video.

A weird picture based on a slim novel by Carson McCullers, this movie fails to engender any sympathy or interest due to several miscalculations.

Filled with implausibilities and unintentionally funny moments, this early Norris feature was little more than an excuse for the actor to use his karate skills. Exploitative in nature, but popular with its audiences.

Not only is this truly sick stuff, but the production is so low-budget, and the photography so muddy, that a sense of ultrasleaze prevails.

Why do moviegoers and gamers keep going to see video-game-based movies when neither group is ever happy with the results?

Jade's seamy excesses would be conventional in a direct-to-video erotic thriller; in a major studio production, they're embarrassing.

A cliched throwback to the early 1980s slasher genre, DR. GIGGLES transplants the heart of a NIGHTMARE ON ELM STREET sequel--wisecracking killer--into the body of HALLOWEEN--psycho killer returns to his hometown to slash anew--but lacks the wit of the former or the tension of the latter.

A truly amateur production.

Lawrence runs through his usual repertory of mugging, seething and generally acting like a fool, only to be regularly upstaged by Arnold, Trey's pet piglet.

Without a doubt, De Laurentiis' remake of Cooper and Schoedsack's classic is the biggest con job ever pulled on the unsuspecting American public.

Unfortunately, SINS OF DESIRE features a disproportionate amount of sex and not nearly enough thrills...If only the film's makers had realized the crime solving techniques and sexual exploration needn't be mutually exclusive. In SINS OF DESIRE, deducing always takes a back seat to seducing.