Harper (STARDUST MEMORIES; MY FAVORITE YEAR), a vastly underrated actress, clearly exhibits more talent than this film deserves, its only real standout. Rather than maintain the level of crude, campy fun in the original, SHOCK TREATMENT deteriorates into lame, humorless nonsense that bores rather than amuses.

A totally unnecessary and extremely poor sequel to the original "Halloween". Although Dean Cundey's photography goes a long way toward recapturing the look of the first film, director Rick Rosenthal is no Carpenter, and the emphasis here is on graphic blood and gore rather than the skillful manipulation of the audience.

[A]confusing, silly story.

More a standard haunted-house comedy than a parody of FRIDAY THE 13TH, this uninspired farce rarely succeeds...Pitifully childish on all counts, SATURDAY THE 14TH really doesn't contain anything fresh or funny, save one gag in which the gill man emerges from a bubble bath.

Ivory's dispassionate direction precludes real involvement with the characters, resulting in a peculiarly austere depiction of a colorful era.

Though occasionally jarring, the intercutting between the parallel stories, aided immeasurably by Streep's disparate characterizations, succeeds in conveying the complexity of Fowles' novel.

Louis Malle's somewhat overrated My Dinner With Andre is a filmed conversation between two friends, and whether you find the movie profound, pretentious, or entertaining will depend on how interesting you find the talk.

This could have been--and is--a very funny film; unfortunately, most of the laughs are unintentional.

Most of the plot twists are confusing and haphazardly developed, leaving the movie as little more than an excuse to show off Stan Winston's admittedly effective gore effects.

This tepid ghost story fails to focus on either its story or its target audience.

This light comedy suffers from a weak script, and although Reynolds manages to hold his own against the brainlessness of the material, he can't rise above it.

Despite its lack of imagination, this dull martial arts entry spawned two sequels: Revenge of the Ninja and Ninja III--The Domination.

A rip-off of ALIEN (1979), this Roger Corman production has plenty of gore and a mindless storyline. A group of astronauts are sent to rescue a stranded spaceship. One is raped by a giant worm, another blows up, and a third cuts off his own arm. The special effects are excellent.

Joan Crawford (Dunaway, in a remarkable makeup job) comes off as a cartoon monster in this over-the-top biopic, which blithely mixes fact, legend, and--especially--elements of Crawford's unique screen persona.

Arguably writer-director Walter Hill's best film to date, Southern Comfort works both as a pure action film and as an extremely effective allegory of America's involvement in Vietnam.

The period detail is letter-perfect, the cast is uniformly excellent, and Delerue's score is haunting and evocative. TRUE CONFESSIONS is a thoughtful but deeply disturbing film, and its frank portrayal of corruption and murder makes it for adults only.

By turns sophisticated and satirical, SO FINE runs the comedy gamut from high camp to low farce.

Worth seeing, if only for the great cast and John Alcott's always-impressive photography.

This unlikely love story never really pays off, largely due to Lawrence Kasdan's contrived script. To their credit, a very subdued Belushi and an appealing Brown do their best to add a patina of light charm to this minor effort, and largely they succeed.

A compelling but oddly empty film.

Filmed and released in England in 1976 as FULL CIRCLE, this movie flopped badly and went unreleased Stateside until 1981, when it was unveiled under a new title and still failed to find its audience.

Director Weir and cinematographer Russell Boyd's re-creation of the invasion and battle action is stunning, but what makes Gallipoli such an affecting film is its intimate presentation of the friendship between Archy and Frank (wonderfully essayed by Lee and Gibson).

An excellent crime drama in the style of Raymond Chandler, James M. Cain, and Dashiell Hammett.

While the basics are pretty familiar, director Tom DeSimone does manage to create a few effective moments.

Audiences flocked to see Kristel bare it all in an R-rated film, but "stunt" double Judy Heldon actually does the dirty work.

Williams gives a fine performance, the rest of the cast is also excellent, and director Sidney Lumet's eye for detail is sure throughout this authentic look at the dirtier side of police work.

While Rick Baker's special effects work is remarkable (and won the first competitive Oscar for makeup), Landis seems content to simply showcase it, shooting it in close-ups and bright lighting without any attempt to build any emotion into the sequence.

Breezy and carefree, THEY ALL LAUGHED suffers from a weak, hard-to-grasp structure. As lovable as the characters and their situations are, one is never quite sure where the film is leading.