Davidson elicits warm performances from inexperienced actors, but his efforts are in vain because the script provides a hackneyed treatment of its delicate subject.

Low production values, an artless script, and an unconvincing view of history don't add up to much in the way of entertainment.

This cross between theatrical farce and teen sex comedy is a moronic package that liberally insults the intelligence of both its viewing audience and the hapless adult actors locked into career low points.

This is a sort of remake of A Yank At Oxford (1938) without any of that film's charm or humor. Lowe passes off arrogance as a cute personality quirk, and the whole movie plays like just another teen-oriented exploitation effort, replete with sex and booze.

Strictly for small children, this animated feature will bore anyone over the age of puberty. It might also enrage anyone with a knowledge of movies as it poaches many other pictures.

It's not fun and it gets tiring real fast.

Besides the humor and the technical savvy, the biggest difference between this film and the five before it is that the characters are actually allowed to live long enough for the audience to develop some sort of empathy with them. Some of these teenagers are downright likable, and we don't want to see them get killed. That element, more than any other, was the real breakthrough in the series.

As in the Friday the 13th movies the only real interest here is observing the outrageous lengths filmmakers go to in devising "Can-you-top-this?" murders.

In all fairness, there is a lot of camp value here. Fans of truly bad cinema couldn't ask for a sillier big-budget production--envisioned with the utmost seriousness.

Jeannot Szwarc's direction is flat and uninspired, emphasizing the jokey elements without any sense at all for the material.

A poorly made and utterly laughable film that has gained a minor cult status with "bad film" fans.

The Big Picture is a failed attempt to spoof the wheelers and dealers behind the scenes in Hollywood. Christopher Guest, who directed and cowrote this diatribe against the inanities of the studio system, has created what amounts to no more than a series of sketches that would probably work better on television than in this prolonged, belabored movie. 

A schmaltzy variety-show routine inflated into a rudderless mess of a fantasy.

One would think that director Saul Bass, whose credit sequences for such films as Hitchcock's PSYCHO are nearly as interesting as the films themselves, could pump some energy into this potentially interesting premise, but all he comes up with is an overly intellectual bore.

Director Jim Drake keeps things moving so quickly, one barely has time to notice just how stale the jokes here are.

The second sequel to the hit 1982 haunted-house extravaganza is an erratic affair, containing some promising ideas and clever effects that, unfortunately, are haphazardly presented in a narrative so perfunctory as to be almost nonexistent.

A high-profile cast can't save this multi-narrative drama about gambling addiction from its wildly uneven tone, which veers from high melodrama to hard-boiled pastiche so overwrought that it's unintentionally funny.

Jam-packed with car smash-ups, predictable situations, and a few stock characters, Moving Violations is nothing more than the cinematic equivalent of a connect-the-dots puzzle.

Good score, OK crash sequences, and lots of unintentional laughs are the only reasons to sit through this movie.

The drug-addled duo of Cheech and Chong dropped all their chemical-inspired jokes for this film, but there are enough scatalogical, homophobic, and perverse sexual gags to fill in that gap...The film is a poorly structured mess with a few sophomoric laughs.

A crass, tedious sequel.

The premise of TROOP BEVERLY HILLS might have worked as a comedy skit, but could hardly sustain a feature, and unfortunately the premise is virtually all the film's screenplay supplies. The lack of character development is particularly damaging for Long--since her character never becomes more than a cartoon, her reformation is never credible.

It's all as campy as can be and a great time waster.

This stage-bound farce could easily be an American sitcom: It's all slamming doors, eavesdropping and stupid miscommunications, garnished with a heavy-handed helping of comedy of humiliation.

The hyperactive Hong Kong action stuff is getting old.

MAXIMUM OVERDRIVE doesn't work on any level. As a comedy it's obvious and asinine, as a horror film it's simply not scary, and as an action film it's a bore.

So ludicrous it's quite funny.

Director-writer Mike Marvin is obviously working out of his element, which consists of ski films and features with titles of things you eat or drink (Six Pack; Hot Dog--The Movie; and Hamburger). The best thing here are the cars, which have no dialog and just stand around looking fast. Sheen's is a specially built Dodge pace car that cost over $1.5 million.