Fox's performance is surprisingly assured; Sutherland is also convincing as his self-centered, dissipated, and snobbish best friend.

A surreal, demented delight.

Biloxi Blues works better than the script alone would suggest, thanks to the skillful direction of Nichols and excellent performances from Broderick and Walken.

Johnny be worthless.

POLICE ACADEMY 5 presents a patchwork of ideas borrowed from a score of wittier and better-done comedies, not to mention earlier entries in the series. In short, it's exactly what you would expect it to be.

The premise of LITTLE NIKITA is a great one--worthy of Alfred Hitchcock--but the execution here by director Benjamin is as rickety as can be. About two-thirds into LITTLE NIKITA, the film deteriorates so rapidly that the characters cannot help but fall through the holes. Adding to the frustration of watching this otherwise-promising movie fall apart are the superb performances by Poitier and Phoenix.

Carefully scripted and well acted, Stand and Deliver is sentimental and utterly predictable but better than many films of this kind.

The story isn't particularly believable, the revelations not fresh or profound, but the film succeeds anyway because of its strong lead performances. A true family picture in the most entertaining sense, VICE VERSA provides laughs for both kids and adults.

An intriguing genre hybrid boasting a stronger than usual cast and excellent, atmospheric direction from Finnish newcomer Renny Harlin, Prison is an impressive piece of low-budget genre work.

The movie has only a few bright moments, mainly provided by the fine group of supporting actors. Pryor displays none of his old manic energy, and the film follows suit, proceeding with murderous deliberation.

A gentle film that metaphorically examines the artist's relationship to her art, BABETTE'S FEAST is the sort of story that one cannot help but find uplifting.

Controversial filmmaker John Waters finally hits his commercial stride in this film, parlaying his keen social observation and great compassion for society's outsiders into a colorful and engaging comedy full of dancing, music and heartfelt nostalgia.

Director Polanski, a master of movie atmospherics (e.g., Chinatown, Rosemary's Baby), here creates a hauntingly foreign, forbiddingly stylish Paris that seems to move to the oneiric disco stylings of Grace Jones. Harrison Ford, outstanding as an American innocent abroad, moves persuasively from complacency to confusion, rage, and paranoid desperation in a performance comparable to James Stewart's best work for Hitchcock.

Hope and Glory is a wonderful film, an intelligent, heartfelt, personal, and marvelously entertaining look at what it was like to grow up in wartorn England.

A shapeless mess that falls far short of the high expectations created by Lee's first feature, SHE'S GOTTA HAVE IT.

First-class stunts, fine photography, and solid acting by Weathers and Vanity combine to lift this action film above its ludicrous story. Had the filmmakers not undermined the project with inane plot twists, unexplained motives, and absurd coincidences, this could have been a real winner.

The film attempts to pay tribute to vintage rock music--most of the songs are covers of golden oldies. But the renditions are so uninspired, the tribute falls flat.

For a few flickering moments, we care a bit about the people, but then it's gone. There's little plot, and the picture is far too long and fraught with allegory. Director Hector Babenco's sense of style is evident, but a sharper editing eye would have helped.

A delicately rendered and exceptionally moving reminiscence of a boyhood friendship cut short by war.

A sloppy but ambitious mix of pop anthropology, political observation, and good old-fashioned Val Lewtonesque horror, The Serpent and the Rainbow succeeds more often than it fails.

Unfortunately, for all its credentials and the virtuoso performances of its three leads, this lengthy movie doesn't add up to much. It fails to explore its themes--love and hedonism, freedom and commitment (political and sexual)--in depth, floating haphazardly from scene to scene without emotional or intellectual development.

She's Having a Baby could have been a fascinating and funny look at the conflict between marriage and personal ambition had its writer-director probed more deeply into the subject. Hughes instead falls back on the easy jokes, hip music, and superficial character studies that have obscured the basic viability of all his work.

Once Griffith and Andrews enter the lawless zone attempts at quirky humor fall flat and the film settles into a fairly conventional action yarn

O'Connor is superb as the would-be rock star whose romantic notions persist despite the fact that he is an empty vessel with absolutely nothing to say, and this odd, offbeat film richly deserves the audience it failed to find during its theatrical run.

Good Morning, Vietnam stumbles whenever Williams isn't behind the mike, placing him in melodramatic, hackneyed situations that become increasingly predictable and preposterous, and director Barry Levinson's seemingly endless reaction shots of listeners grooving to the DJ's antics become irritating. Levinson manages, however, to be one of the few filmmakers to show the Vietnamese as complex, cultured people, rather than as helpless victims or the faceless enemy.

Director Ken Wiederhorn is a competent, if unremarkable, talent who handles the action scenes in a professional manner. His writing talent, however, is not equal to that of the first film's writer-director, Dan O'Bannon, and the sequel lacks its predecessor's snappy, biting dialog and O'Bannon's satiric edge.

The film is carelessly directed, paced, acted, and scripted, offering today's teenagers, at best, a confused message. Foremost among its endless problems is Avildsen's pathetic direction. Under his uninspired guidance, the actors appear to be performing in filmed rehearsals, guilty of glaring character inconsistencies from one scene to the next. The cliche-ridden story throws in every possible obstacle to the young couple's happiness.

Clumsily designed as a showcase for special effects, this lamebrain kiddie comedy is a shoddily directed and performed attempt to retool Ghostbusters as a latter-day Hardy Boys' mystery.