Indistinguishable from any of the He-Man TV episodes or videocassettes in any aspect other than length, which is probably a moot point at best. This is a ground-out effort designed to please the calculated expectations of He-Man's loyal audiences.

An offbeat, existential crime drama buoyed by fine performances; nicely turned dialogue; and an evocative soundtrack and theme song from Paco di Lucia and Eric Clapton, respectively.

A charming surprise.

The film tries to be a modern-day female version of THE DEFIANT ONES but fails to be anything more than 87 minutes of tripe.

What chiefly keeps this film on target, though, is Goldblum's marvelously deadpan reaction to all the bloodshed around him. The tone, despite the frequent bloodletting, is light, and the film works better than the script would indicate.

Hughes, though he gives the material a sense of fun and achieves several moments of genuine warmth, too often resorts to obvious cliches, stereotypes, and easy answers, and throws in the near-obligatory rock video as well.

Just when it seemed Albert Brooks had gotten his creative energies under control, along comes this intermittently funny, often overdone comedy that could have been a classic.

Earnest, warm, and often very funny, VISION QUEST features a finely etched performance by Matthew Modine.

A ridiculous and totally insipid film.

An uneven and somewhat predictable thriller.

Sure-footed thriller, beautifully photographed, with Ford's best performance thus far.

Both a spy drama and an intriguing character study. Penn invests his Snowman with fascinating eccentricity and is the more interesting of the pair, though Hutton delivers an estimable performance as the sullen young falconer.

This one combines elements of AMERICAN GRAFFITI, GREASE, and PORKY'S with a liberal dose of TV's popular sitcom Happy Days.

This wonderfully touching and funny reminiscence of life in a Catholic boys high school in Brooklyn circa 1965 went mostly unnoticed by critics and moviegoers alike. HEAVEN HELP US is a refreshingly honest portrayal of teenagers. No character is stereotyped, and events turn out differently than expected.

A deeply moving film.

Although the story makes for a movie that is often slow going, it is also a beautiful and evocative film fueled by an excellent performance from Davis and Peggy Ashcroft.

None of the episodes is especially exciting, and they are all so brief that very little depth can be found in any of them.

Since FANDANGO never has anything to say about its well-worn themes, the film quickly becomes boring and predictable.

The Coens' concern isn't emotional intensity but bravura camera moves and chic lighting of cinematographer Barry Sonnenfeld.

Because of their restricted movements and expressions, we never believe for a moment that the creatures exist, thus making the film an utter failure.

It's not all that scary, either, making this psuedo-horror film largely a waste of time for even hard-core fans of the genre.

Tuff Turf is so relentlessly derivative that its good points--chiefly an attractive, relatively talented cast--are buried in cliche.

A good film for the viewer who isn't interested in being entertained but is willing to be thrown into the muck of the problems facing hard-working American farmers.

Even with all its flaws, Johnny Dangerously has many genuinely funny moments, and if you're in the mood for silliness, you won't stop laughing.

Fast-paced, fully aware of its own foolishness, and with lively dance sequences, BREAKIN' 2 is an enjoyable diversion for those who like breakdancing.

There's not a single bad performance here, and director Marshall wisely builds his film on small moments, realized with sympathy and intelligence.

Birdy is one of those rare movies that successfully brings a psychological novel to the screen without sacrificing its saliency or complexity.

Micki & Maude has some very funny scenes and excellent acting from all the performers. It begins a bit slowly but builds well and winds up in a comic celebration.