A few moments of good, visual storytelling aren't enough to save this frustrating film.

Another dull slasher movie (this one less gory than most).

This Ashby-directed film suffers most from its too-simple plot, but the often-indecipherable Texas accents that Blake and Harris lay on don't help matters much.

A few effectively directed sequences and special makeup effects by Tom Savini (most of which were cut to avoid an "X" rating) are the only reasons to sit through this terribly familiar material.

Somehow, this one's even worse than the first. Called a sequel, it's basically the same movie, except that this time a different cast of teenagers gets killed in the usual, very graphic manner.

Between the stereotypes and endless tire screeching, there isn't much to care about here.

A real bore, with the director seemingly incapable of creating suspense.

Ferrara's gritty and powerful style makes Ms. 45 a standout.

Don't expect many answers from the movie, for Stone hedges his bets toward the end and vacillates, leaving the whole thing infuriatingly ambiguous.

Relying mostly on slapstick visual humor (only 15 words are spoken, otherwise the dialog is all grunts and groans), the action quickly becomes madcap.

Knightriders is overlong and at times fairly undramatic, but for viewers who stick with it and accept the premise, there is much of interest to be found here.

Excalibur is a grand, clanky, brooding fantasy.

This very effective thriller features a chilling performance by Hauer as the emotionless killing machine. Stallone and Williams are also credible, and the film makes good use of its New York locations.

A must-see for horror fans, with more than one viewing recommended.

At times it is fascinating, at other times pure Memphis cornpone.

Aided by a superb script from playwright John Guare, director Louis Malle pulls off a minor coup here, celebrating his wounded characters even as he mercilessly reveals their dreams for the hopeless illusions they really are.

The film does, however, feature revealing performances from its leads, authentic production design, and atmospheric photography by Sven Nykvist.

A dumb end to a dumb series of movies that, in retrospect, play like the paranoid ramblings of a religious fundamentalist who sees unholy anti-Christian conspiracies behind every world event.

A fiercely powerful film... An inspiring film, it is constructed like a thriller; but instead of reaching for thrills, it leaves them in the background and concentrates on the complexities of its characters.

While certainly not as interesting or accomplished as The Texas Chainsaw Massacre, Funhouse is a cut above the average slasher film.

Ritt and Field seem to have been trying to capitalize on the southern backwoods setting that served them so well in Norma Rae, but this time around they didn't have nearly as engaging a story with which to work.

The film presents its characters in a series of vignettes rather than in a traditional story. While it gives evidence of cinematic skill, it has a tendency to draw attention to its film-school parentage.

The film leaves the viewer feeling violated and ashamed. Avoid.

Exceedingly well-shot (by Jack Cardiff) action film that will evaporate from the memory shortly after the end credits roll.

Low production values, an artless script, and an unconvincing view of history don't add up to much in the way of entertainment.

Director Peter Yates takes Tesich's basically wobbly story and makes much more out of it, driving the tale and the characters at a hectic pace and providing some truly unnerving moments.

Although the body count averages one murder every 7 1/2 minutes--which will undoubtedly please the gorehounds it was intended for--this film is slightly better than most slice-and-dice efforts and contains several genuine surprises.

Edward Asner is good as the tough cop who takes over the besieged precinct, Aiello is appropriately sleazy, but Newman is still left to carry this rather predictable film wholly on his shoulders. The script is sharp and witty, but there's no central theme to hold it all together.