It's a mixed bag, but successful in a mindless, adolescent way. The spirited, energetic music is contributed by a variety of rock performers, including Blue Oyster Cult, Black Sabbath and Nazareth.

The film attempts to mock both slasher movies and the mentality that produces them, but its humor is so sophomoric that it's a little like the pot calling the kettle stupid

The film is pleasant but too hackneyed and heavy-handed to work well.

Part The Great Escape, part standard sports movie, Huston's Victory limps along until hitting full stride with a brilliantly staged soccer sequence that provides the film's climax.

Although occasionally preachy, it is a fascinating horror tale that is as engrossing as it is horrifying.

Just painfully dull.

A gripping, old-fashioned WWII spy thriller.

Travolta gives a sensitive performance, as does the director's then-wife Nancy Allen. The film's emphasis on the role of sound technology in movie-making is unusual and instructive.

The highly polished production is well paced and imaginatively directed, although the happy union of prince and pauper is harder to swallow in 1981 than it would have been in 1931, when cinematic escapism brought relief to depression-era audiences.

Scott Spencer's intelligent, rather lurid novel of youthful angst is here watered down to stock teen romance. Most notably, the graphic sex scenes at the core of the book are reduced to picture-perfect set pieces, and the film is soporifically slow-moving.

This one-joke film beats its punch line to death, playing its gay character for big laughs with generally predictable and boring results. Hamilton (who coproduced) chews up the scenery with relish, and the bland supporting performances yield to his campy caricature, But the subtle element of self-parody that distinguished the best of the Zorro films is absent, and the gay stereotype is more offensive than comical.

A generally gripping actioner, the film can also be read as a percipient satire of a society irreparably split along lines of class and race.

The animation here is better than average, though not quite up to the quality of Disney Studios in its heyday. Still, this film has a lot of heart and is wonderful entertainment for both kids and their parents.

Creatively edited and as insightful as any film can be about the lowest rungs of the music scene, this overview expertly captures the time and place. Still, the movie lacks the crossover potential to appeal to non-punk viewers.

This satirical attack on Hollywood and the film industry, however, lacks the biting edge and fresh characters necessary to make it work.

The success of this picture (perhaps Moore's best in the Bond series) can be attributed to the marvelous direction of Glen, who had previously worked as a second-unit director on earlier Bond movies. Not surprisingly, the stunts are some of the best in the series.

Though it's occasionally tasteless and eventually crumbles, STRIPES is an often hilarious film that provided Bill Murray with a perfect opportunity in which to display his comedic skills.

The giant computerized dragon alone is worth viewing. But Dragonslayer profits from spirited direction and camera work plus the expert Richardson at its nucleus.

The film boasts fewer guest-star cameo appearances than the first time around but those who are here do a good job, and Miss Piggy's Busby Berkeley-type dance and the water ballet are fun to watch.

Poking fun at its American mythos, but never descending into camp comedy, this sequel makes for a wonderful time.

With a plot stolen from THE GUMBALL RALLY (1976) and CANNONBALL (1976), this wholly derivative car-chase movie provides a flimsy excuse for good ol' boy Burt Reynolds to cavort on-screen with a cast that's chock-full of familiar faces.

Ford's performance is an underrated but remarkable achievement; he succeeds in fully embodying a comic-book style hero without ever descending into camp.

Despite cameos by many superior comic actors and well-known celebrities, this episodic would-be laughfest comes up wanting as many of Brooks' elaborate gags fall flat.

The title duo serves up more idiocy, this time by dispensing drugs from an ice-cream truck--a concept that will appeal to few these days. The failure to come up with a strong script, character development, plot, authentic humor, or basic entertainment doesn't improve matters any.

Ho-hum country-music saga stars Quaid as an aspiring singer and McNichol as his pesky, ambitious younger sister, who drags him kicking and screaming (for what seems interminably longer than 110 minutes) to fame and fortune in Nashville.

The biting satire and absurd situations in Waters' movies always dwell self-consciously on how media images and stereotypes affect viewers' notions of reality. Polyester is much more cliche-ridden than his other films, however, and so is less successful as satire.

Although the two veteran performers present themselves well, the concept of a monster disco is merely silly, and the terribly cheap masks on the various creatures make the whole thing look like a home-movie shot in his basement by 12-year-old with a camera.

Pryor--whose customary profanity cuts into the story's essentially sentimental nature--is able to energize the material, but in the end Bustin' Loose remains a minor effort from a major talent.