A truly amateur production.

This direct rip-off of The Hills Have Eyes has nothing going for it.

The story line is as direct as can be, and little time is wasted with extraneous subplots. Very effective use is made of the location, a decaying old school building that would give anyone the creeps. Good performances by Scuddamore, Iannaccone, and veteran B-movie starlet Munro further enhance the film. The effects are rather good but not too gross, tending to be near-comic.

The Singing Nun was created in the style of MGM's popular family musicals of the 1940s, loaded with gloss and sugary sentimentality. The direction shamelessly panders to these elements, resulting in sluggish development.

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

The long section during which Kennedy and crew (including Ty Hardin, Robert Culp, and James Gregory) get to know each other is slow going, but the action scenes are generally worth the wait.

This frothy musical has a likable cast and a gossamer-thin story.

This picture was the third remake (out of four) of the Peter B. Kyne story, with its Three Wise Men parallel.

All of this is played for laughs, and the songs aren't half bad.

Dull, humorless, and thankfully, the last of the Dracula films produced by Hammer.

Any attempt to obscure the names of those involved in the making of this fiasco can only be construed as an act of mercy. Troll 2 is really as bad as they come.

This Canadian production -- while somewhat impressive for its low-budget roots and loose but inspired plot twists -- is a tedious exercise in shoddy horror that's just as forgettable as 99 percent of its straight-to-DVD kin.

Pretty melodramatic stuff, given poor technical production by the studio, but saved by Quinn's bravura performance.

Unpretentious social satire that manages to poke a few deserved jabs at modern man's ego. The laughs are a bit sparse, but the witty cast helps carry it along.

This one has more talk than a Senate filibuster and is only a tenth as interesting.

This fast-moving gangster picture was typical of the Warner Bros. releases of the 1930s: lots of shooting, action, and romance, all crammed into a brief 78 minutes as overseen by supervisor Sam Bischoff who went on to be the producer of such epics as THE CHARGE OF THE LIGHT BRIGADE, THE PHENIX CITY STORY, among others.

It's fast and furious, but suffers from an overstuffed plot.

GILDA LIVE is simply "The Best of Gilda Radner," as the comedienne reprises her most popular characters from TV's "Saturday Night Live" (then at the peak of its initial success). Radner fans may find this a welcome compilation, but there's little here that wasn't done better on the TV show.

Worth seeing, if only for the great cast and John Alcott's always-impressive photography.

Players give excellent portrayals, but the picture is lacking in both setting and direction.

The story is simply told and absorbing, with excellent performances all around.

The film has some excellent sight gags, some old jokes, and two winning performances from Dreyfuss and Landsberg, who could very well be a comedy team to reckon with, if their next pictures are handled better by the distributor.

Visually the production is good, primarily because of the Texas exteriors and a lot of period autos, indicating the BONNIE AND CLYDE influence had not played out as yet. But the story drags in this Depression-era melodrama.

Brilliant performances by young, inexperienced actors help make this picture work.