Not even a bravura performance from Woods, some steamy love scenes between Bridges and Ward, and a thrilling daylight car chase down Sunset Boulevard can pull this confusing remake out of the doldrums.

Hilarious pseudo-documentary spoof of a British rock group that was so on-target in its satire, many viewers took it for the real thing.

Benson is as annoyingly untalented as ever, and the film is definitely overlong, bordering on the dull.

Most of what goes wrong here can be blamed on the script, which provides little of the smart and snappy dialog needed to pull off a film like this.

Although the mystery itself is nothing special, Argento uses the narrative structure as a jumping-off point for his virtuoso murder sequences, which are incredibly well orchestrated and inventive.

There are a few sparkles of humor here, but this remake is an inferior product. Whereas Sturges played out his story with wit and flair, Howard Zieff's direction is flat and uninspired.

Boring, cliche-ridden teen drama looks nice and features Quinn, who is fairly impressive in his debut. Hannah looks good but seems completely without depth, as do all the other characters in this routine bad-boy-loves-good-girl drama.

An effective and moving drama about the strength of the human spirit and the will to survive.

A charming comedy shot in black and white that mixes several varieties of the New Yorkers that Allen loves so well.

A mindless comedy that's about as funny as a life sentence in solitary confinement.

The film's only plus is some superb ski photography.

A meditative film by visionary Soviet filmmaker Tarkovsky that lures viewers into its mysterious, mystical world and completely envelops them for a two-hour stretch.

Streisand is actually quite credible in her role and she elicits beautifully shaded performances from a large cast, particularly Patinkin and Irving.

This is a fast and funny film that will appeal to viewers of all ages. The kids are particularly good, lacking any cloying cuteness. The Aussies sure have a way with chase films, keeping the moves motivated and logical, with no gratuitous cars flipping over and burning.

Infantile fantasy reuniting the stars of Grease.

Hackman's performance, beautiful photography by Stephen Burum and Ric Waite, and some effective action direction from Ted Kotcheff make this watchable, but the jingoist wish-fulfillment inherent in the material is ultimately disturbing.

A minor disaster. Director Michael Mann presents a fantastic-looking movie, filled with great production values and lush cinematography. Unfortunately, these are combined with a totally incoherent narrative, punctuated by incredibly inept performances from usually fine actors.

The plot is much the same as in the Ernst Lubitsch original, with everything played for laughs and Brooks at his funniest in impersonations of Nazis. What's missing is the relevance of the 1942 film, released while Germany occupied Poland.

Mindless but likable comedy about a failing Washington, DC, cab company that is revitalized when the eccentric group of cabbies work together to save it. A good cast makes the most of the uninspired material.

Uneven but sometimes fascinating murder mystery.

Mike Nichols, in his first venture into movies since "The Fortune," elicited superlative performances from the actors, particularly Streep and stage veteran Sudi Bond.

A beautiful, at times poetic exercise in excess from Brian De Palma.

Christine just boils down to another average adaptation of one of the increasingly weak Stephen King novels that hit Hollywood like a bad rash in 1983.

Eastwood keeps things moving at a furious pace and the series' formula of having a steely-eyed "dinosaur" like Harry cutting through the red tape and vanquishing the scum of the earth remains irresistible.

Directed with flair by George Pan Cosmatos and filled with sly references to Moby Dick and The Old Man and the Sea, this film is a successful blend of terror and humor, played with some real fervor by Weller.

Lopsided comedy turned tearjerker, saved by excellent performances.

The cast is wonderful--especially McGavin, Billingsley and Petrella--the laughs are nonstop if rarely subtle, and the whole thing deserves to become a Christmastime classic.

Writer-director Robert Hiltzik tries to mask the poorly staged murder scenes and lousy effects with a perverse sense of humor, but it doesn't work. Some scenes, especially one involving a girl and a curling iron, are simply irredeemable.