The action sequences are well staged and the twists and turns of the convoluted plot will keep viewers guessing. A competent and unpretentious entertainment.

Despite Trevor Nunn's direction, this gorgeously photographed travesty of history doesn't omit a single cliche of the costume genre and feels even longer than its 142-minute running time. Fans of RSC-style scenery-chewing will not, however, be disappointed.

Allen has infused it with wit, a superb cast and his usual "the best direction is the least direction" style.

Youngblood is little more than a star vehicle for Lowe, who handles the role well enough.

Although Russell and Williams have good rapport, Williams' unique improvisational talents are restricted by the script (save for the hilarious training sequence), and the film suffers for it.

The diverse elements of the plot are fairly complicated, but Lumet is a strong director who knows how to effectively weave these components together. Gere, in one of his better performances, is the all-important connecting factor. The secondary roles are well cast, with Washington and Learned giving the most assured characterizations.

A howl from start to finish.

No guns, no violence, no nudity--just a caring story that will wet the driest eye and warm the coldest heart. Every single role is perfectly cast and perfectly played, and Horton Foote's script is a marvel of economy.

This could have been a sweet, charming little romantic comedy, but it is ruined by excessive vulgarity and gratuitous nudity.

Yet another totally absurd bout of macho wish fulfillment for those frustrated by the American government and military's inability to deal effectively with terrorism, Iron Eagle is actually more outlandish than most.

The action in this superlative film is relentless and gripping from beginning to end.

The special effects, supervised by director John Buechler, who was the effects man on GHOULIES, are pretty poor, essentially slimy rubber creatures with a limited amount of movement and the seams from their molds clearly visible.

The cinematic adaptation of the novel, however, is so laughably awful that Auel later sued the producers for creating such an inaccurate work.

Although his film biography features beautiful production design and more than 1,400 costumes, it is unfortunately perfunctory, flat, and predictable.

Director Cokliss directs in a workmanlike manner, but his action scenes are unimaginatively handled and lack pizzazz. Luckily, his cast is almost strong enough to make up for it.

Unforgivably bad, painfully unfunny, and downright stupid, HEAD OFFICE tries to do to the corporate world what AIRPLANE did to the airlines. A needle in a haystack would be easier to find than a laugh in this film--which is surprising, considering that the cast includes such names as DeVito, Moranis, Novello, Doyle-Murray, and Shawn.

The film makes a noble attempt to present history in a realistic, nonheroic light, but Hudson is done in by a dull script and some ludicrous (curiously unrealistic) casting (Pacino as a Scot, Sutherland as a Brit, and Kinski as an American).

Stands separate from the rest, in a pantheon, a true cinematic masterwork of sight, sound, intelligence, and most importantly--passion.

One of the largest wastes of money ever. More than $33 million was spent on this futuristic version of THE DEFIANT ONES or HELL IN THE PACIFIC, both infinitely superior films. The basic flaw is that its premise is older than your great-grandfather's hat.

To make up for the lack of real story here, director Sydney Pollack shoots endless travelogue footage in soft light and pleasing colors. The movie is not drama and far from a compelling romance.

Blindingly obtuse, excessively morose, the film is nevertheless dazzling in its inventive and massive sets and spectacular in its techniques...A powerful work that is both bleakly funny and breathtakingly assured.

Spielberg lacks his usual intuitive affinity for his story material; consequently the film is a bit clunky at times. There are some unfortunate slapstick comic relief sequences and a few of the characterizations are also much too broad and cartoonish.

Easily one of the most gimmicky films of all time, Clue must be the only movie in history to be adapted from a popular board game.

The action here is virtually nonstop and the special effects are often astounding: good and bad guys battle atop speeding trains and the lovers dangle perilously over cliffs and ride through stampeding desert tribes. But THE JEWEL OF THE NILE is missing the faux-innocent tone and consistent narrative invention that made ROMANCING THE STONE work.

Director Attenborough's film version has a couple of pleasant numbers which serve as oases amidst the dullness.

Landis' direction is indulgent, to say the least, with big landscapes, big crashes, big hardware, and big gags filling the screen. What he forgets is character development, that all-important factor that must exist for comedy to work well.

FOOL FOR LOVE is a great play, and the performances from the cast are solid--especially Stanton's and Shepard's--but as a film the whole thing seems rather contrived and stiff.

Whereas the first half of the movie concentrates nicely on the developing friendship between the young Holmes and Watson, the storm of roller-coaster thrills and Industrial Light and Magic special effects soon takes over, blowing the nicely drawn characters away.