Air America comes on like a noisy, overproduced sitcom pilot.

What it lacks are the dramatic underpinnings and emotional core that made the original film an engrossing mystery as well as a cinema classic.

The look is overpowering enough to delay--though not forever--examination of the plot, which has to pull a fast one at every turn to keep moving and which eventually makes a mockery of plausibility.

Full of wonderful music, grand visuals, and melodramatic plot twists, the movie is laced with very funny moments, as well as interesting insights into the world of jazz and the plight of the dedicated musician.

Besides featuring some of the same actors in the same roles, what this six-gun sequel has in common with Young Guns is that it is wholly unmemorable.

If they gave an Oscar for the year's most claustrophobic film, Presumed Innocent could have won it in a walk. Everything about this film is as cramped, clenched, and constricted as Harrison Ford's face, which looks like a tightly balled-up fist here.

The Unbelievable Truth captivates with its committedly off-center vision of suburban angst.

There's not much to THE FRESHMAN beyond the spectacle of Brando gently spoofing his most famous role, but that's a pretty sizeable asset. Broderick is his usual charming self, and there are occasional moments of inspired whimsy or absurdity: Brando on ice skates, Bert Parks delivering a rousing rendition of Bob Dylan's "Maggie's Farm."

Charlie Sheen and Michael Biehn star in this visually engaging, fast-paced action film about an elite anti-terrorist unit of the US Navy. Unfortunately, an uneven script and undeveloped characters weaken the dramatic content of the story.

It may be a seamless tongue-in-cheek thriller, but it lacks the superbly developed psychological tension of its illustrious predecessors. Director Marshall's film is nothing more than a diversion, and if you personally have no fear of spiders, you might wonder what all the fuss is about.

A big sweet hit, tingly and glycerined in a phony way, but diverting.

Quick Change unfolds cleverly, keeping the audience in the dark on the robbery plot throughout the film's opening reel.

The Adventures of the Ford Fairlane is an exceptionally well-made film that is everything you could ever want in an Andrew Dice Clay movie; it's vulgar, tasteless, nasty, cynical, and, at times, very funny.

Though by no means a great animated feature, JETSONS does offer unqualified family entertainment, and it even includes a socially responsive message. While the film is neither brilliant nor hilariously funny, it is frequently quite enjoyable, and fans of the Jetsons will not be disappointed.

Feeble attempts at black humor can't save this stillborn teen terror-tale. The humor misses the mark, and the "suspenseful" moments slow the proceedings down even further.

Days of Thunder delivers only the bare essentials. Boys, the reasoning seems to go, will be lured into the theater by the siren call of gasoline and super-charged engines, while their girl friends will tag along to get a look at Cruise in tight jeans.

A sly, self-mocking sense of humor is apparent even in Robocop 2's title, which identifies both the film's sequel status and its hero. And what a fantastic nightmare creation Robocop 2 is.

Surprisingly sweet and good-natured, Dick Tracy is a highly stylized piece of fluff that's easier to digest than the ponderous pretensions of the equally over-hyped Batman.

A huge improvement over the original, Gremlins 2: The New Batch is surprisingly sympathetic towards the title menace, and surprisingly thought-provoking as extended commentary on modern life and morality.

It's only too bad nobody lectured the producers about creative cowardice. If someone had, Another 48 Hrs. might have been another good movie instead of just another damned sequel.

Ugly, stupid, loud, offensive, and pointlessly violent--let's not mince words--this film should be called "Total Reject."

Routine military melodrama leads to a satisfactorily explosive climax. But what makes Birds truly riveting entertainment is not the conflict between good and bad guys, but the clash between the film's apparent intent and the loony subversiveness of its performances.

Like Larry, Cadillac Man doesn't know quite what it wants to do. At first the film seems to be a low-key comedy about a small-time hustler, then it becomes a kind of Dog Day Afternoon-style melodrama. Ultimately it is an uneasy mix of the two.

Big, dull, and noisy, this comedy-romance has chases galore, but its comedy is flat and its romance is grating and graceless.

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.

Staying with Tie Me Up! demands some patience, but the director's timing never fails him, and he brings things to a close on an upbeat note.

Dull, derivative horror anthology.

In blending the personal worlds of these characters into a complete cosmology of the abyss, director Uli Edel (Christiane F.) and scriptwriter Desmond Nakano have transformed Selby's episodic book into an aesthetic whole that is greater than the sum of its parts.