Although the fairy-tale script is as old as the motion picture industry itself, the resourceful cast of Coming to America brings freshness to the annoyingly cliched material. Unfortunately, Landis' inelegant direction nearly derails the film.

While flawlessly delivered, it's overkill--so loud and excessive, it makes our head swim... It's like a sumptous banquet composed entirely of fast food; fills you up but entirely forgettable.

Hill has gotten Schwarzenegger to give one of the best performances of his career, and Belushi too is thoroughly convincing as an action hero. RED HEAT is a welcome break from the shallow shoot-'em-ups that became the standard in the 1980s.

Scripted by the extraordinarily prolific John Hughes, directed by Howard Deutch, and starring John Candy and Dan Aykroyd, this disappointing comedy should have been much funnier given the talent of those involved.

This is a well-made, observant documentary, with attitude to spare and plenty of justifiable laughs at the expense of its subjects. Focusing in on every aspect of this subculture--from the fascinating, to the absurd, to the downright depressing--this would make the perfect double bill with This Is Spinal Tap.

Gorehounds will likely be pleased by the graphic bloodletting, but there's little else of interest here.

Featuring outstanding lead performances by Kevin Costner, Susan Sarandon, and Tim Robbins; a witty, literate script; and an insider's familiarity with life around minor league baseball--Bull Durham is both one of the best films ever made about the national pastime and a charming romantic comedy.

A thoroughly uninvolving picture, THE PRESIDIO is chiefly the victim of a horrendous screenplay by Larry Ferguson (BEVERLY HILLS COP II; HIGHLANDER). When it isn't providing mundane dialog, Ferguson's script assaults the viewer with senseless exposition continuously dredged up from the characters' pasts.

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.

Director Abrahams, working on his own for the first time, has some problems with pacing and with sustaining an essentially one-joke premise that never arrives at its big payoff.

Big is a winning, charming film, primarily because Hanks makes it work. He is extraordinarily convincing as an adolescent who suddenly finds himself dealing with a new, adult body, responsibilities, and a romantic relationship, while simultaneously trying to survive vicious corporate infighting.

Although it aspires to subversive social satire, FUNNY FARM seems little more than a dumb comedy more determined to make people guffaw than to think.

In KILLER KLOWNS FROM OUTER SPACE a potentially interesting genre-warping concept is turned into a merely dull and repetitive one by the Chiodo brothers, who created CRITTERS.

Though less offensive than its predecessor, Rambo III -- which is dedicated to "the gallant people of Afghanistan" -- is still a mindless and uninspired effort.

A surprisingly shoddy affair that abandons the unabashed romance of its predecessor for a rudimentary action-adventure plot involving guns and drugs.

Every aspect of WILLOW seems as if it were written in stone before a shot was filmed. The plot grinds on inescapably to its predictable climax, with the viewer fully aware of what awaits long before the events unfold.

The series went from self-parody back to normal with this dull entry.

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

Bloodsport is strictly for martial arts buffs; little is offered here in the way of plot, dialog, or acting.

As sequels go, Critters 2: The Main Course is particularly bereft of imagination. Save for the opening 20 or 30 minutes, the film is pretty much a clone of the original.

When it comes right down to it, TWO MOON JUNCTION could be far, far worse than it is; but given the built-in limitations of this type of film, it can't be any better.

Bagdad Cafe is a visually exhilarating and consciously modern film, more concerned with projecting an atmosphere or spirit than with telling a story. It's hard not to fall in love with this comic fable about the magic that develops at the meeting of two cultures.

A slam-bang action film with some stunning scenes of mayhem and violence.

This unnecessary sequel to the 1977 cult item Attack of the Killer Tomatoes picks up where the latter left off, as, over footage from the first film, we are told that the human race has survived the onslaught of the giant killer fruit, yet some are still traumatized even at the sight of a normal-sized tomato.

LaLoggia shares his unique vision with the viewer through an imaginative and innovative visual style that flows skillfully from traditional naturalism into surreal dreamlike fantasies and back again without ever seeming gratuitous or clumsy. A remarkable film.

As in BASKET CASE, director Henenlotter combines some disturbing gore with an offbeat sense of humor that makes the entire disgusting exercise a bit more palatable.

An ideal animated film for young children, it has also found favor among adults who appreciate its unusually gentle, painterly style of animation, a trademark of the film's director, Japan's most renowned animator, Hayao Miyazaki.

Colors has a tentative, ambivalent feel to it--as if Hopper merely considered himself a hired gun who should avoid imposing too personal a vision on the material.