Although perhaps not as mind-blowing in its uniqueness as RE-ANIMATOR, this is definitely one of the best horror films of the 1980s.

By far the silliest and most self-mocking of the series, with the interplay between Spock and Kirk veering somewhere between Hope and Crosby and Cheech and Chong, but also one of the most successful.

Peddle captures a vital and increasingly visible community that's easily misunderstood, and his film will undoubtedly help novices further understand the complex differences separating gays, transsexuals and the transgendered.

Odd but never dull.

While not easy to watch, and at times even harder to follow, Haas' film is an important attempt to accurately capture the confusing reality of contemporary Iraq.

It's not earthshaking or life-changing, but it's cute, occasionally predictable and only requires ACTUAL idiots, like Barry, to act like idiots. As formula entertainment goes, that's a pretty sweet deal.

Scanners is a memorable and absorbing genre entertainment.

A romantic victim to the end, this Ian Curtis is all that worshipful fans could ever hope for.

What does work in Coming Home are the small, human, unguarded moments. The performances, undeniably appealing, were deservedly praised, Dern and Voight coming off best.

The film boasts fewer guest-star cameo appearances than the first time around but those who are here do a good job, and Miss Piggy's Busby Berkeley-type dance and the water ballet are fun to watch.

Superbly acted, beautifully photographed, and resolutely warm and fuzzy, SLEEPLESS IN SEATTLE is a romantic treat.

Exorcist III may not have the visceral impact of the first film, but it gives viewers far more than they had any reason to expect.

With his ersatz-gangsta swagger, the once-again buff Bale gives it his all -- he's got to be the most committed actor in Hollywood -- but the real surprise here is Rodriguez, who has all the talent and charisma of a major star.

A charming comedy-drama that's surprising true to the events that inspired it.

It's sad that HOMICIDE goes so drastically off the rails, because the first half of the film is a positive joy.

With an often very funny story line that eventually touches on parental disappointment and suicide, it's clear that, his debt to Hess and Wes Anderson notwithstanding, Waititi has learned a thing or two from fellow antipodean Jane Campion as well.

Red Rock West is the tale of a hapless drifter caught in a web of corruption in a remote western town. It offers suspense, wit, genuine surprises, and a trio of top-notch performances.

A visually inventive and energetic pop musical.

The laughs are plentiful and the acting by Fox, Thompson, and Glover is superb. Robert Zemeckis's direction, like the technical contributions, is first-rate, and after an ambling start takes off into frenetic, non-stop fun.

Real Life delivers a pointed critique of the influence of media on our lives; it is also one of the funniest looks at filmmaking ever put on screen.

Simultaneously shocking and deeply religious, Carlos Reygadas' follow-up to his acclaimed 2002 debut, "Japon," tells the story of one man's battle for spiritual redemption through a series of explicit images rarely seen by even the most jaded art-house audiences.

A funny, successful, and very derivative crime-comedy.

With its fades to blinding white and its atmosphere of testosterone-fueled paranoia, Carpenter's remake hews more closely to the source material — John W. Campbell, Jr.'s 1938 novella "Who Goes There?" — than THE THING FROM ANOTHER WORLD and is a masterful exercise in claustrophobic suspense.

This is family entertainment at its best: Intelligent and surprisingly unsentimental. And anyone who doesn't fall in love with those goslings has a heart of stone.

The cast is uniformly excellent - particularly the relentlessly effervescent Posey and the imperious Sasha von Scherler, the director's mother - and the modern take on old-fashioned romantic comedy is surprisingly effective.

It's lighter, funnier and violent, and it's not entirely without hope, making this tale of survival under horrendous conditions far more suitable for younger, more impressionable audiences.

Character-driven thriller, which plays out against a backdrop of desperation, self-loathing and grinding poverty.

It's all good fun, and Ustinov is very amusing as Blackbeard.