Amadeus is a must for any music lover, any film lover, or anyone who reveres excellence.

A good story and some good effects, but it's a subject that could stand a better, more defined script and more attention to the issues involved.

Bolero must rank as one of the worst major movies ever made. Many awful movies are at least funny in a campy sort of way. Bo and John Derek, however, make films so sincerely bad that they offer nothing in the way of relief.

A truly amateur production.

Kristofferson acts like someone who has just awakened and would like to go back to sleep--something many in the audience found themselves doing.

This is a sort of remake of A Yank At Oxford (1938) without any of that film's charm or humor. Lowe passes off arrogance as a cute personality quirk, and the whole movie plays like just another teen-oriented exploitation effort, replete with sex and booze.

Bruce Surtees' dark, moody cinematography is typically masterful, but its translation to video leaves some scenes a bit murky.

Made on a tight budget, the special effects are never very convincing, but the performances are all good. If you're willing to suspend disbelief, this is a neat thriller that's enjoyable from start to finish.

The only thing that redeems the film from total worthlessness is Connery's Green Knight, a frightening vision in armor.

This might have been a terrific movie. It has all the right ingredients: a beautiful woman in an odd situation, a background as colorful as any movie ever made, a script by veterans Lorenzo Semple and David Newman, and a historic comic strip. So what went wrong? Blame must be laid squarely on the shoulders of John Guillermin, who directed the movie as if he weren't sure if it was adventure, comedy, or camp.

Woo's career, LAST HURRAH FOR CHIVALRY gives fans of Woo's later work (A BETTER TOMORROW, THE KILLER, BROKEN ARROW, FACE/OFF) the chance to see him develop his expertise at staging action and telling stories of friendship, loyalty, and betrayal among a close-knit group of men.

Women are treated with little respect by director Wilder, while men are portrayed as bad little boys who mean no harm. The so-called farce is just degrading prattle that drags on much longer than it should.

Although the film plays a little too heavily on this patriotic theme, its simple boy-and-his-horse story is beautifully effective.

Cloak benefits from tight direction and the good humor of the Holland script. The addition of the dual role for Coleman (who's excellent in both) serves to highlight the relationship between father and son, adding another dimension to the yarn and almost relegating the spy plot from the core element of the story to mere diversion.

Another infantile right-wing fantasy from writer-director John Milius, this cinematic embodiment of the paranoid delusions of militarists, survivalists, and television evangelists is definitely a film for the Reagan era. Red Dawn is simply too simplistic and inept to be taken seriously.

Fans of innovative Canadian filmmaker David Cronenberg will recognize the emergence of his unique voice in this 1970 project, the director's second feature (following the 1969 Stereo).

Fascinating but thoroughly unbelievable.

It is a small film, with small, and at times cliched, ideas about rural life, but there is a sweetness about it that is an appealing and refreshing change from the usual roller-coaster films that bombard audiences in the summer.

Elegant, stylish, and ultimately boring adaptation of the James novel.

If you like Prince's music, you'll love this movie. If not, stay away.

The drug-addled duo of Cheech and Chong dropped all their chemical-inspired jokes for this film, but there are enough scatalogical, homophobic, and perverse sexual gags to fill in that gap...The film is a poorly structured mess with a few sophomoric laughs.

The difference between this movie and the original is Bill Murray, whose charm gave the first film its best moments and raised the mediocre plot into something mindless but sweet. Here the characters are stereotypes. Perhaps the only reason to see the picture is for Paul Reubens, who has a relatively minor part.

A bleak but mordantly funny portrait of three aimless characters who discover that paradise isn't such an easy place to find.

Director Wolfgang Petersen combines the elements into a charming film that is excellent for children and won't put any adults to sleep, either.

Try as they may, neither the cast nor the filmmakers can cover up the fact that this movie, like Moore's prototype, is a dud.

The story gets silly from time to time, stretching credibility to the breaking point, but the final result is an old-fashioned love triangle made new by the third party's being electronic.

This follow-up to THE MUPPET MOVIE and THE GREAT MUPPET CAPER is not as good or as hip as its predecessors, but the Muppet gang remains fairly charming.

Clever, exciting, and fun, The Last Starfighter boasts good performances by Guest and Preston, and a literate, funny script that highlights the real story: not the space war that only Guest can win but the difficulty of leaving home, family, and security for a totally new life when the opportunity presents itself.