Written and directed in a campy, tongue-in-cheek style, it's a loving homage to those wild imports from Hong Kong--kung-fu movies.

The second leads are far more interesting: Belushi brings a brash, hearty presence to the film, while Perkins is wonderfully acerbic. Their scenes together are the movie's best.

Adding to the excitement of Psycho III is Perkins' willingness to take chances with his style and material.

The engaging characters play out the action against elegantly designed backgrounds. The story is genuinely exciting, a well-told tale that is entertaining to both children and adults without compromising the expectations of either group. The voices are perfectly cast, particulary Price as the evil Ratigan.

As a director Prince doesn't show even a rudimentary sense of visual style, and his acting skills equal what his direction calls for. The whole film plays exactly for what it is, one long essay in ego massaging.

Labyrinth packs enough surprises to captivate an audience of children and provides enough wisecracking to keep adults laughing.

Everyone in the movie seems to have a comic moment, because the laughs are piled on top of each other. Call it rude, crude, and lewd, but you also have to call it very funny.

Hines and Crystal succeed in creating a new buddy team that ranks with the likes of Robert Redford and Paul Newman.

Macchio, for his part, is an obviously intelligent actor with terrific instincts. Still, this movie leaves a bit to be desired: much of the movie seems recycled, and there is precious little subtlety in the villains' characterizations. The film is also about 15 minutes too long, with far too many convenient plot devices.

Although the on-screen rapport between Redford and Winger is a delight, the film itself is less than that. The script by TOP GUN writers Cash and Epps is muddled and unconvincing.

The plot is suitably slight, allowing plenty of room for the barrage of jokes that roll off Dangerfield's tongue. The result is unsophisticated, unilluminating, unambitious, and hilarious.

This exciting, if conventional, teen thriller effectively makes its points about the dangers of the nuclear age. It features a fine performance from Lithgow as the brilliant yet troubled scientist, and writer-director Marshall Brickman does a nice job of emphasizing human values.

MONA LISA is a detailed, thoughtful film that sensitively explores the emotions within its seedy, exploitative milieu.

There's no point to any of this other than simply having fun. It's like a comic book come to life, complete with colorful villains, mindless violence, nifty gadgets, sparse logic, and some wonderfully silly dialog.

The story and pacing of this offbeat comedy wear thin after the first 20 minutes.

John Irvin's direction is rudimentary for an action film and adds little excitement to the proceedings. There's not much suspense, with good guys and bad guys clearly drawn, and the final shootout is all too routine.

Plagued by cliched characters, ridiculous situations, and a bombastic John williams score, SPACECAMP is just not a very good movie. All the stock shuttle footage or good looking special effects proffered can't disguise its tired treatment of well-worn ideas. SPACECAMP is just a conglomeration of overworked notions, coupled with a wholly unmemorable ensemble.

All the tongue-in-cheek humor, film-buff jokes, and special effects in the world can't save this mess.

The story is treacly sweet, told in a simplistic animation style that has lamentably become an industry standard. Kids will enjoy the events, however, and parents might be mildly amused by the cast of famous voices. But at close to an hour and a half, MY LITTLE PONY pushes the limits of a younger child's attention span.

Although the film fails at a number of levels, most acutely in never making us care much about any of the characters or their problems, it possesses a loopy charm that makes it a pleasure to watch.

Director Cassavetes here applies his remarkable talent for social observation in a light-comedy context and creates one of the strangest, and in many ways most frustrating, screen comedies in recent years.

There's not an original thought in sight — the story is Evil Dead in a movie theater — and it doesn't pay to give much thought to the self-referential implications of the story: The demons and their gross-out antics are the main event.

Every aspect of this film is reprehensible. Stallone's character is an empty hulk; the few attempts to provide us with little insights into his character are downright laughable.

Although an improvement thematically over the first film (the childlike awe of the original has been replaced by a very adult fear of impotence), Poltergeist II is terribly disjointed and dramatically unfulfilling.

What TOP GUN contributes to the genre is an increased emphasis on military hardware and an almost homoerotic attraction for male bodies, mostly sweaty ones.

The plot line is as simple as they come, and Badham's direction is as mechanical as his star. The human actors are secondary, for the real star of the show is Number 5. He's really pretty charming, though his unusual antics aren't enough to carry a feature-length motion picture.

A deliciously bad reworking of The Karate Kid, with just a touch of Rocky IV tossed in.

Nelson wanders through this film like a zombie, and Sheedy, an actress who can manage an occasional burst of talent, is simply bad here. The film's only saving grace is the musical score by Cooder.