Although shot well and boasting some effective 3-D work, this is a woefully inadequate effort, and the series began to slip into inadvertent self-parody.

Ill-conceived, pathetically realized follow-up to "Saturday Night Fever."

Burt Reynolds hits new lows as he mugs his way through this film as Stroker Ace, a race-car driver who's under the control of chicken-franchise owner Clyde Torkle (Ned Beatty). The script is filled with good ol' boy humor and car crackups.

Based on the popular television series, Twilight Zone--The Movie is a frightfully lopsided omnibus that begins with two wretched episodes by John Landis and Steven Spielberg and finishes with an engrossing pair by Joe Dante and George Miller.

This sequel remains true to the tasteless formula of the original.

There are about as many laughs in the film's 101 minutes as in a three-minute sketch by the Monty Python troupe, from which much of the cast hails.

Considering the standards set by the first two Superman films, Superman III is a disappointment. The story's mythic qualities had worn thin by the time this film was made, so the makers had to rely on Richard Pryor as their audience grabber.

OCTOPUSSY features the usual array of fine stunt work and special effects, and Adams' appearance marks the first time that a Bond woman was allowed an encore performance, but little is added that departs from the Bond formula.

Although it tends to rely heavily on slapstick in the second half, the movie provides plenty of laughs and is one of director Landis's best efforts.

The Man with Two Brains, which never ceases to amuse, is at its best when most outrageous.

Featuring some strong performances from a cast that includes Dabney Coleman and Ally Sheedy, convincing re-creations of defense technology, and nicely modulated tension, WARGAMES is a generally effective message film.

This sequel to Alfred Hitchcock's classic is surprisingly good. In Psycho II, Norman is a victim of crazed people who insist on persecuting him and, as a result, seems incredibly sane by comparison. Unfortunately the end to Psycho II contradicts this development, turning Norman into a leering loon in preparation for another sequel.

Just another excuse for mindless sex and violence: as if we needed one.

The dialogue is repetitive ("I won't give in to the dark side of the Force!" "You will!") and significant characters from earlier films -- notably bounty hunter Boba Fett and Yoda -- are dispatched without fanfare, and the whole business has a slightly rushed, perfunctory feel at the same time that it feels oddly attenuated.

Expertly executed action flick that starts out fast and winds up faster. We've seen it all before, but the execution here supersedes the concept.

In keeping with the tentativeness of the entire enterprise, the ending is one of the great cop-outs in modern moviedom.

Even the most ardent Cheech and Chong fans will have a hard time finding much to enjoy in this pathetic showing from the drug-oriented comedy duo.

There isn't one laugh in this so-called comedy...The resulting situations are so moronic that the movie is unwatchable.

This simplified Romeo and Juliet tale was written and performed with such heart and care that it is impossible to dislike. The cast is wonderful, headed by the engaging couple of Cage and Foreman and wittily directed by Coolidge.

A slick, largely empty visual exercise with vague thematic overtones about a clash between American and European culture. The Deneuve/Sarandon sex scene, however, is not to be missed by fans of either actress.

The talents of the wonderful Jonathan Pryce are wasted in this poor adaptation of Ray Bradbury's tale of fantasy and the supernatural.

Koyaanisqatsi asks the viewers to ponder their relationship to a social system that has come to dominate them rather than serve them. Much of the film is exhilarating and beautiful in a way that may seem counterproductive to that end. But the cumulative effect is more meditative than frightening. It's not a world-shaking film, but it is an affecting one.

There are some amusing moments early in the film, as Lattanzi's friends try to teach him about sex as only teenaged boys can.

Although the "story" is almost wholly without depth or plausibility, it's carried off with great style.

This is one of the better Norris action films, showcasing his astounding martial-arts skills. But the film loses power toward the end when the action bends reality a little too much.

Outrageous fun, this film is New Wave chic, satire, self-parody, science fiction, and certainly one of the more accessible independent features ever made.

Inoffensive of this kind (except for the usual array of stock Mexicans), but wholly unoriginal.

Trying to jump on the PORKY'S bandwagon, the makers of SCREWBALLS came up with another bad, teen sex comedy. The girls are given degrading names, the boys have only one thing on their minds, and the producers obviously have no sense of social or artistic responsibility.