The charismatic Dillon is a believable delinquent and gets solid support from a cast that went on to populate some of the better youth pictures in years to come. [Review of re-release]

Gone is the joy and wide-eyed fun of the original; in its place is a hokey, ho-hum story that might have come out of a computer.

Bad Boys is disturbing, sometimes annoying, often painful, and never boring. Writer Richard Dilello and director Richard Rosenthal have taken a difficult subject and infused it with interesting people, some wit, and a lot of careful thought.

Another worthless sex comedy.

Armstrong gives an annoying, strident performance of her complaining character. The film is devoid of wit, excitement, or interesting characterization.

The very loose plot of WILD STYLE serves mainly as an excuse for rap-and-dance numbers and the sight of prominent East Coast graffiti artists playing themselves, sometimes with magnetism and panache (Brathewaite), sometimes without (everybody else).

Apart from Bronson, this is a complete waste.

Tender Mercies is an episodic gem that offers little in the way of action or melodrama but gets by on fine performances (particularly from Barkin and from Duvall, who does his own singing), atmospheric cinematography, and spare, unglamorous writing.

Despite an intelligent title performance by Ben Kingsley and impressive cinematography in the manner of David Lean, this huge, clunky biopic offers less than meets the eye. Director Attenborough seeks not to understand but to canonize his subject; as a result, both Gandhi's teachings and the complexities of Indian political history are distorted and trivialized.

De Niro gives a miraculous character performance, much different from the intense brooding loners for which he is renowned. He seems to disappear into this oddball, somewhat repulsive, but ultimately rather touching character. Sandra Bernhard, in her film debut, is nearly as memorable as Rupert's outrageous partner in crime.

The cast is charming, the sets intentionally stagy, and the musical performances fine.

Charming, whimsical, and practically perfect, Local Hero reminds us of the great pleasures that British comedy used to routinely provide.

A fascinating rumination on humanity, technology, entertainment, sex, and politics that is virtually incomprehensible on first viewing and needs to be seen several times before one can even begin to unlock its mysteries. (Review of Original Release)

A great performance by Barbara Hershey fails to save this poorly directed tale of the supernatural, which was sold as a fictionalized account of an actual paranormal case history.

The story is told with uncharacteristic restraint and benefits from fine performances by Nelligan and Hirsch.

Ambitious, stylish, and ideologically confused, The Year of Living Dangerously falters in its attempts to succeed simultaneously as thriller, romance, and political tract, while also encompassing director Peter Weir's penchant for half-baked mysticism. Still, it's a gripping film.

Although director Rosman spices up the predictable murders with some stabs at surrealism, a slasher movie is a slasher movie is a slasher movie, and this one soon wears out its welcome.

Rather than confront what it sets up, it takes the one joke and runs - till it runs out of steam.

This relentlessly depressing film biography boasts a moving performance by Jessica Lange as Frances Farmer, one of the most beautiful movie actresses of the late 1930s and early 1940s, shown here as the victim of a forceful mother (Kim Stanley) and a tyrannical studio system.

While the master is at work, there are laughs galore, but the film nonetheless constitutes cheap exploitation of the memory of a man who convulsed audiences for years.

Once again employing his famous muppets, Jim Henson creates a brilliantly detailed universe with this intriguing fairy-tale adventure.

Sidney Lumet directs effectively, keeping the tension strong, and unfolding David Mamet's intelligent screenplay slowly but with maximum impact.

Thin story collapses under the leaden star chemistry; capable supporting players can't save this dud.

Unfortunately, the film suffers from the weak script's predictable situations and underdeveloped characters, and the pathos and cliches become hard to take, making Honkytonk Man more of a curiosity piece for followers of Eastwood than a truly compelling story.

This sequel to AIRPLANE! is just as crammed with sight gags and sophomoric humor as its predecessor, but the novelty has worn off and the humor worn thin. A cast of mainly Hollywood has-beens and unknowns enjoys itself in this spoof of disaster movies, this time centering around a space shuttle headed for a crash. The various bits and cameos flash past without providing the laughs AIRPLANE! delivered.

A dreadful remake of the French farce LE JOUET (1976), THE TOY is poorly written, over-directed, and filled with sophomoric attempts at humor. Only Richard Pryor's personal energy manages to save it from being complete rubbish.

Together Cates and Hammond take a thrill-a-minute trip through the San Francisco underworld and along the way develop one of the 1980s' more interesting cinematic buddy pairings.

Competently directed by Pakula and featuring gorgeous cinematography by Almendros, Sophie's Choice is an overlong, fairly schlocky film that takes itself very seriously.