This superbly animated (but weakly scripted) tale was produced by Don Bluth, who left Disney Studios when he became dissatisfied with the quality of their animated films in the 1970s, taking a dozen of Disney's best animators with him. The result is a return to the lush, finely detailed animation seen in the best Disney features.

For all its cute contrivances, Six Pack isn't a bad film and is guaranteed to warm the hearts of Rogers' fans.

It's intelligently conceived (on a visual level, at any rate) and largely good fun. Steven Lisberger, an East Coast animator, directed the visuals, combining the actors and computer graphics with satisfying results.

With its fades to blinding white and its atmosphere of testosterone-fueled paranoia, Carpenter's remake hews more closely to the source material — John W. Campbell, Jr.'s 1938 novella "Who Goes There?" — than THE THING FROM ANOTHER WORLD and is a masterful exercise in claustrophobic suspense.

Well over $20 million was spent to create a film full of sound and fury but without an inkling of intelligence.

This charming musical based on the comic strip character Little Orphan Annie features many memorable songs and pleasant dance numbers.

For the more intelligent Eastwood fan, the film offers an interesting exploration of the actor-director's screen persona. Throughout, he experiments with a number of different disguises, finally embracing total dehumanization when he steps into the Firefox, dons the special mind-reading helmet, and becomes one with the sleek, gleaming, high-tech killing machine.

Israel Horowitz's script fails to develop sympathetic adult characters, leaving the children to give the film whatever charm it may have.

Though the story feels standard, the fun comes from the meticulously realized details that director Steven Spielberg and associate producer-writer Melissa Mathison have injected into the material.

Most conspicuously absent is John Travolta, replaced here by Maxwell Caulfield, who can't lift the original greaser's comb. Michelle Pfeiffer (MARRIED TO THE MOB; DANGEROUS LIAISONS) fares better as Olivia Newton-John's replacement, but the whole movie looks as if it has been slapped together to capitalize on its predecessor's success, and no doubt, it was.

This is one of the most popular in the series, thanks to a high action quotient (including a tensely staged space battle), a suitably campy turn by Montalban, and the shock value of Spock's death. There is some novelty value, too, in the focus on Kirk's family life back on Earth.

The problem is, some of the truly horrifying moments slip through the censorship cracks, scaring little kids (and their parents), leaving POLTERGEIST a very disjointed, uneven movie.

More than just being about the making of FITZCARRALDO, the film is an incisive character study about a visionary filmmaker who seems to be oblivious to the fact that the making of his film is becoming as difficult and foolhardy as Fitzcarraldo's own struggles.

Rocky III crawls along without dramatic impetus, failing to convey the big emotions and missing the humor of the first two films.

A simple story is lost in the film's complex structure, and only when O'Neal and Julia are on screen together does this directorial debut of cinematographer Caleb Deschanel come to life.

A consistently hilarious parody of the noir and detective genres, expertly blending classic archival footage with the action.

A series of meaningless adventures punctuated with a lot of clanky, very bloody swordplay, Conan the Barbarian is best remembered for a scene in which Schwarzenegger punches out a camel.

The film is rather haphazard in its visual style and plotting, tallying up to a confused condemnation of our lack of morality.

The acting is laughable, the story as believable as honesty in government.

Excessively gory, FORBIDDEN WORLD nonetheless has several well-directed suspense scenes, and its special effects are impressive for a low-budget effort.

Lots of gore and some decent artistic effects may keep audiences interested; if not, then the scantily clad.

Potent and simmering if sometimes a little overstated, THE CHOSEN manages to elicit a tolerable and appropriate performance from the generally emetic Benson.

A pleasant, mildly inspirational movie but hardly worthy of all the accolades it received.

Director Paul Schrader's dreamlike, stylishly atmospheric remake of Val Lewton's 1942 horror classic needs to be taken on its own terms: viewers who assent to its Freudian logic and creepy sexuality will likely be entranced, but just a little critical distance renders the whole thing irretrievably ludicrous.

Richard Pryor's assured tragicomic performance is so engaging that this otherwise forgettable film is not only worth watching, but often compelling.

Filled with implausibilities and unintentionally funny moments, this early Norris feature was little more than an excuse for the actor to use his karate skills. Exploitative in nature, but popular with its audiences.

Arguably one of the best horror films of the 1980s.

A smooth and efficient film about some pretty rough characters, THE LONG GOOD FRIDAY deserves its status a modern-day crime classic.