A hilarious mixture of Errol Flynn swashbuckler and Monty Python send-up...When it comes to pleasing both kids and adults, you can't do much better.

Despite all the props, costumes, and music, the film conveys no feel for the city, the period, or the seedy gambling milieu.

Wearing its patent ridiculousness on its sleeve, this slight but generally agreeable comedy integrates the Airplane/Top Secret school of non-sequitur comedy into a less explicitly parodic buddy flick.

At its best, the film is moving and thought-provoking, but at other moments it is unintentionally silly. It is not the story but the telling of it that is the problem; at 140 minutes, Maurice simply goes on too long.

This story of an extramarital fling that turns into a nightmare begins as a well-crafted psychological thriller but degenerates into a misogynistic thrill-fest in its closing moments.

The film is carried by Downey, appearing in his first starring role. Ringwald, while performing adequately, just doesn't seem right for the part. Toback has devised an interesting premise that draws parallels between risking one's heart and one's wallet, but the picture itself risks little.

The basic problem is that most of the humor is based on things that are beyond parody. Bad television commercials and lame low-budget films are funny enough as they are; exaggerating their ridiculousness is unnecessary. What is successful is the painstakingly accurate recreation of everything from the commercials to the title skit. The talented filmmakers demonstrate that they can handle a multitude of directing chores, and, although the scripting may lack imagination, the visuals are handled quite well.

This lackluster tale of redemption has violence aplenty and an undercurrent of humor.

A competent, if unremarkable, espionage thriller that is enjoyable while it lasts and forgotten moments after the credits roll.

Time will eventually reveal that HAMBURGER HILL is one of the best and most realistic films made about the Vietnam War.

Matewan is beautifully shot, and there is not a weak performance in the film. Jones is a tower of dignity; Cooper is the epitome of quiet strength; and Oldham glows with the passion of a zealot, first for God, then for the union.

The first film featured George Wendt from TV's "Cheers"; this time around, they tapped the same TV show for John Ratzenberger.

One problem with the film is that it does nothing to endear the Catskill social setting to an audience; the inhabitants seem to be competing for awards in obnoxiousness.

A stunningly inept and totally reprehensible film.

Colorful Cajun noir, spicy, romantic, efficient.

This is a surprisingly heartfelt film from Marin, miles away from the mindless drug humor that infected his efforts with Tommy Chong. The film offers some genuinely tender moments as Marin uses Robles situation to explore the plight of Mexicans who long for a better life.

A worthy remake of the film noir classic THE BIG CLOCK, NO WAY OUT adds, among other things, a delightfully subversive twist ending. Good performances from a strong cast.

The problem with Can't Buy Me Love is that too often characters do and say things teenagers wouldn't. At times this is a funny, touching film, but more often it isn't.

This second feature from director Fred Dekker is a poorly paced and haphazardly scripted horror-comedy that is neither scary nor particularly funny.

Director Arthur, who struggled for eight years to get this film funded, claimed that her right to final cut was revoked by the producers and that they trashed her version and released what she describes as a more exploitative cut.

Less pretentious than John Milius' Big Wednesday, North Shore is pleasant enough but not very engaging.

There are some decent special effects, but overall it's about what you'd expect from a movie inspired by a line of toys.

Much could have been done to enliven this film if the script provided more satire instead of parading the same inanities with a smirk this time around. It's harmless but in need of a transfusion.

Though filled with witty lines, fast-paced overlapping dialog, and screwball situations, this film too often sinks to Police Academy-style stupidity. The only reason Who's That Girl works at all is because of Madonna and Dunne.

Strictly for small children, this animated feature will bore anyone over the age of puberty. It might also enrage anyone with a knowledge of movies as it poaches many other pictures.

This movie marked a virtuoso return for Dreyfuss, who is captivating in his role.

Part horror, part comedy, THE LOST BOYS is a vampire thriller that brings some interesting twists to the genre, but is nearly defeated by director Joel Schumacher's heavy-handed efforts to bring an MTV-like sensibility to the traditionally gothic material. Despite its flaws, however, the film is an interesting addition to vampire cinema.

Director John Glen is an old hand at James Bond films, having worked on three other 007 movies. He knows this popular spy well and does him great service in this well-paced film.