Brilliant and sickening...A must-see that is guaranteed to ruin your day.

While TESTAMENT is less sensational than the similar TV movie, "The Day After," first-time director Lynne Littman lays on the sentiment and symbolism a little thickly, and some may find the pre-disaster sequences slow going. The acting is undeniably strong, particularly Alexander's heartfelt performance.

An enormous number of symbols--sexual, religious, and political--collide randomly in this pretentious, incoherent horror story.

Arguably the best adaptation of a Stephen King novel.

This cliche-riddled picture was the directorial debut of veteran cinematographer Michael Chapman, who took no risks in his first time out.

Director-writer Philip Kaufman's script brings a wealth of humor to a faithful retelling of the astronauts' fascinating stories, the actors fit smoothly into their roles and even physically resemble their characters, and the direction is well-paced and visually exciting.

Director Roger Spottiswoode, who edited a number of Sam Peckinpah movies, succeeds brilliantly in creating the chaotic last days of Somoza's government while at the same time incisively evaluating the moral dilemma faced by war correspondents.

Deliriously expressionistic visually and aurally.

Connery delivers his usual charming performance, and Brandauer (MEPHISTO, OUT OF AFRICA) makes a great Bond villain. Gone is the excessive gadgetry that mars Bond films, and, as a result, the characters are more prominent and colorful.

This could have been a wonderful film, but the makers fell in love with the hardware and forgot the humanity. BRAINSTORM is chockablock with special effects that sometimes obstruct rather than enhance the story.

In the final analysis, the film doesn't amount to much, except to provide a good opportunity for the fine ensemble cast to show off their talents.

Pare lacks charisma as Eddie, but the Bruce Springsteen-like music (by John Cafferty, who dubs Eddie's singing voice, and his Beaver Brown Band) was good enough to put the soundtrack album in the Top 40 charts.

Bordering on parody, but too sleazy to be very funny, this mad slasher film involves a cleaver-wielding psycho who lurks in the halls of a Boston university.

This is a poignant if predictable take on the English class system, buoyed by an effervescent performance from Walters.

The movie looks as though it was shot on a budget somewhat smaller than the local six o'clock newscast.

Take out the weak acting and what's left in this sequel to Enter the Ninja is a fairly good display of martial arts.

In this quartet of scary tales, two stories work and two don't.

Oshima's ambitious film is not without faults, but these are overshadowed by its emotional power.

No, there's nothing intelligent here--just a couple of likable fellows trying to stop mad Brewmeister Smith (Max von Sydow) from gaining control of the world.

The childish narrative, doubtless inspired by a spate of similar duds such as Conan the Barbarian, is marred by poor story continuity and terrible transitions.

Striking lack of originality.

Routine Dangerfield vehicle in which he plays an inept, slobbish baby photographer who must give up his bad habits if he wants to collect a $10 million inheritance from his snooty mother-in-law. Pesci plays the ringleader of the smoking, drinking, overeating cronies that Dangerfield must resist. It's all an insult to the great Geraldine Fitzgerald, who must have wondered during filming if it had all come down to this. If you're not already a Dangerfield fan, remember he's an acquired taste--like Spam.

An unconventional but rewarding film.

CUJO suffers from universally unsympathetic characters, and the dog is just not scary enough to maintain any interest. Significantly, the picture also lacks the sly humor that made ALLIGATOR so appealing.

An aesthetically contemptible, crassly commercial work.

This film doesn't even have the basic narrative coherence of the first two, and it rambles about aimlessly with little humor or action. This is commercial filmmaking at its very worst.

Smart, stylish, and cynical about the values of its time, this movie aspires to be The Graduate for its generation and it comes pretty close.

Taut, if occasionally silly, the film is hampered by ideological confusion. Director Peter Hyams doesn't seem to know if he's making a reactionary Death Wish" clone or a liberal problem film.