A fierce and often compelling actor, Nick Nolte usually creates a riveting character, and when that character is coupled with a good film, the end product is something worthy of watching. Such is the case with EXTREME PREJUDICE, despite its abundance of violence.

There's practically nothing wrong with PROJECT X. Broderick is superb as always and proves that he is a commanding screen presence even in the company of a cute chimp. Hunt also turns in a fine performance. Surprisingly, even the film's bad guy (Bill Sadler) has some redeeming qualities, preventing the script from becoming patently simpleminded.

All the usual business canards and stereotypes are represented in this lackluster, witlessly directed production. Only Fox is worth watching, but his role is more suited to a one-act play.

There's not much to this empty-headed feature except that Sheen gives a commendable performance with what little characterization is provided by the lame script.

Director Jim Drake keeps things moving so quickly, one barely has time to notice just how stale the jokes here are.

Director Blake Edwards takes a sitcom sketch and blows it up into a witless feature film that relies on pratfalls and slapstick.

This film is really blatant right-wing propaganda loaded with a stunning amount of racial and political stereotypes.

Rarely has a film so ineptly directed produced so much intentional laughter.

Thanks to a terrific performance by Freeman and slick direction by Jerry Schatzberg, this is a fast-moving, intermittently riveting crime drama.

A deliriously cinematic experience for those with a taste for Grand Guignol, this is a relentlessly energetic nightmare world where quite literally anything can happen--and does.

Cage creates a homey and thoroughly likable character who earns the respect of the audience, but Hunter is the real surprise. Appearing in her first starring role, the stage veteran displays so much energy that she forces the audience to pay attention.

A mesmerizing odyssey through the mind of a uniquely talented performer, as well as through one of the gorier chapters of modern history.

Though much of the plot action is downright silly, Dreyfuss, DeVito, and Hershey offer wonderful performances, and director Levinson keeps things moving with some nice comic touches. As he did in his first film, Diner, Levinson again effectively uses a diner setting in which his characters are allowed to engage in some rambling but very funny dialogue.

First-time feature director-writer Kevin S. Tenney imbues his picture with a surprisingly slick sense of style and employs some clever camerawork when the narrative warrants it, refusing to bore the viewer with the endless evil-point-of-view shots favored by so many other horror directors.

Gibson is truly frightening as the cop about to go into orbit, and Glover is a standout as the down-to-earth lawman with very much to lose.

Angel Heart is a convoluted combination of film noir and horror that, although expertly filmed by director Alan Parker, seems more an exercise in flashy visuals than mature cinematic storytelling.

Stoltz turns in a restrained, realistic performance, and Thompson is quite good in what could easily have become a thankless role. But far and away, this is Masterson's film. An amazingly mature young actress, Masterson skillfully brings subtlety, depth, and nuance to her character.

As played by the classically trained Robert Englund, Freddy is a vital killer who brings a sense of creepy fun to his demented work — moviegoers actually like the guy. The nightmares themselves are another reason for the series' success. Seldom have films explored the nightmare world with such effect, style, and panache.

The down-to-earth portrayals possess none of the stereotypes popular in media representations of prostitutes, and, as a result, are frighteningly realistic. A film with an interesting and provocative feminist edge.

A lifeless and sophomoric attempt at romantic comedy that draws on the fantasy films of old Hollywood but fails miserably.

Arm wrestling, truck driving, weird weight lifting, and tear jerking are the stuff of this predictable Sylvester Stallone vehicle in which he plays Lincoln Hawk, a trucker-cum-wrist twister whose son, Michael (David Mendenhall), has been kept from him by his devious, wealthy father-in-law (Robert Loggia).

Despite a few good moments here and there and a stunning performance by Gena Rowlands, Light of Day is an anemic drama with little to say.

Both Russell and Winger give solid performances, and the memory of the complex interplay between their ultimately not-so-very-different characters lingers long after the film has ended.

Director Arthur Penn uses every trick in the horror book to pull this one off, but nothing really works, including his accent on scary noises. Everything is forced, contrived, and not too neatly lifted from other classic doppelganger films.

Allen presents a host of anecdotes and remembrances of things past, but one wishes it could have been slightly more cohesive. One of the joys in this picture is the soundtrack of songs of the period that will delight anyone who lived in those radio days.

Outrageous Fortune is an effort on the part of Disney to prove it can distribute adult films, but it only shows that it has no real perception of what such pictures are all about.

A dismal affair that reeks of pretentious self-importance.

Writer-director Curtis Hanson is to be credited for procuring a clever story and offering nail-biting action sequences that build solid suspense. Guttenberg's boyish appearance initially seems wrong for his increasingly forceful role here, but it is exactly that quality that proves to make his unjudicious actions believable. The marvelous French actress Huppert is a standout as the cool, European beauty.