Another failure in Harmon's attempt to move from TV to the big screen.

A first-rate production full of nonstop action and inventive special effects but what truly makes Robocop spellbinding is a superior script.

Even the special effects are lame in this one, offering a latex shark that is about as realistic as a fake goldfish. Poorly directed by Joseph Sargent, who relies heavily on blood and fast editing to create tension since there certainly isn't any written into the script.

Although there are some slow sections, RITA, SUE AND BOB TOO! provides a number of good laughs and also more than a few empathetic winces.

Most of the jokes are either ethnic slurs, homosexual japes, or unfunny gags with not a shred of wit. Babes and brewskis are just not enough to carry an entire picture.

Plays no better than a bad after-school special. None of the characters is the least bit sympathetic. Just what audience the filmmakers were aiming at is a mystery, though the movie may have therapeutic value as an anaesthetic.

Lots of laughs; some fine darts tossed at fascism, southern California customs, and the USA in general; a tongue firmly embedded in the cheek; and a fairly good score all add up to make this a sleeper...If your sense of humor has the slightest warp in it, you may thoroughly enjoy SURF NAZIS MUST DIE.

Formulaic fun, helped by two winning leads.

A perversely fascinating movie--one that answers no questions, offers no hope and has little meaning. In a way this is perfect for what the film has to say about war, but you find yourself numbed and apathetic as the film progresses.

Director Tom Mankiewicz brings little innovation and no surprises to Dragnet. It simply doesn't come off, and the viewer will be left with an empty feeling, a vacuous notion that somehow the laugh scenes slipped by unnoticed. They were never really there.

It's mostly forced humor all the way, a movie that rarely measures up to adequate kitsch. Aimed at younger audiences, Spaceballs misses its mark.

Martin makes his character amiable and downright lovable; Hannah shows a fire she hadn't demonstrated in previous efforts. In an era when romance seems to have taken second place to sex, it's heartwarming to see a film like ROXANNE bring back the loveliness of love.

A hilarious black comedy and already something of a cult favorite.

Crisply stylish and suspenseful, making brilliant use of optical special effects, Predator is one of Schwarzenegger's best.

While the film completely unravels shortly after the opening scene, there a few good performances (notably from Robert Loggia) and the gorgeous cinematography of Robby Muller to cling to as it sinks into a confused abyss.

Charming.

Fueled by an intense and intricate performance by O'Quinn, the movie is a fascinating examination of America's predilection for appearances over substance.

Although the concept of small dolls coming to bloodthirsty life sounds scary, its fear factor decreases rapidly after the initial shock.

The dialog is dumb, the acting is dull, the attempts at physical humor are for the most part predictable.

A wonderfully funny and creative film with a cornucopia of comical characters in absurd situations. These loony elements combine to offer some perceptive observations about human joy, fear, and passion for food.

For all the bad press Ishtar received, it does have a certain odd charm... The biggest problem is that any attempted subtlety is swamped by May's bid to turn the film into an epic adventure story.

This surprisingly effective low-budget effort from Canada plays on universal childhood fears, and manages to be scary without resorting to scenes of sadism or graphic bloodletting.

This generation's postpunk worldview is rooted in nihilism, detachment, and fear of nuclear annihilation--nothing matters to them except friends, rock 'n' roll, and getting stoned. River's Edge also boasts the best cast of unknowns since Francis Ford Coppola's The Outsiders. Reeves and Skye are superb as the moral centers of the film, Roebuck is great as the killer, and the supporting performances are also impressive. Glover and Hopper go over the top and get away with it.

Other than the unfortunate miscasting of Molina, an otherwise superb actor, and Wallace Shawn's grating performance, everyone else is right on the money. Oldman, fresh from his triumph as Sex Pistol Sid Vicious in Sid and Nancy, is the key and holds it all together.

Limping along on a scant plot, HOT PURSUIT succeeds largely because of Cusack's handling of his character. Loggia is always a pleasure to watch, even when his part is as mindless as it is here.

Unjustly underrated upon its release, GARDENS OF STONE is a quiet, respectful film filled with emotional power, exceptional acting (especially by Caan), and technical virtuosity.

Whereas Romero's approach to this material is distinctly tongue-in-cheek, Gornick makes the mistake of giving the stories a straightforward treatment that merely heightens their inherent weakness. Both pictures use animation to tie things together, though the cartoon work in both is weak.

Those expecting a reverent sequel to the King tale will no doubt be disappointed.