Essentially a big-budget, modern-day version of a 1960s acid-trip film, ALTERED STATES was helmed by flamboyant, talented, but frequently self-indulgent director Ken Russell, who takes a confusing Paddy Chayefsky story and wraps it in a pretty package, but fails to bring any clarity to the silly affair.

Lots of laughs, little sense, and pure fantasy. Produced by Fonda's company, NINE TO FIVE is an amusing way to spend 110 minutes, but hardly memorable.

A thin plot heavily laden with many of Neil Simon's best one-liners makes this a pleasant way to spend 102 minutes. Chase contributes a somewhat frantic turn, and Hawn does her cute thing. Some nice work from the secondary players--including Harold Gould, Robert Guillaume, and Yvonne Wilder--adds to the fun.

Neil Diamond (who even reverts to Al Jolson's blackface for one sequence) is wholly unbelievable as the cantor's son who forsakes the synagogue for the bright lights of pop music.

Despite a predictable plot and an abundance of stereotypes--the product of a surprisingly clunky script by Barry Levinson and Valerie Curtin--this is a well-meaning film with strong performances all around.

It's an undisguised star vehicle for the likeable Chan and his incredible acrobatic skills, and even viewers who couldn't care less about which fighting style the combatants are using will enjoy watching him be put through his paces.

Not as good as other Christie adaptations such as MURDER ON THE ORIENT EXPRESS or DEATH ON THE NILE, but still fun.

A much gentler follow-up to the original film, Any Which Way You Can takes the time to humanize the characters, and shows them as passionate human beings instead of the fighting machines they were in the first film. Among the film's many funny moments is a parallel seduction sequence showing Philo and Lynne in one motel room, while Clyde puts the moves on a female orangutan next door.

The film's real star is its magnificent set (filmed and constructed in Malta), though Williams manages to screw up his face and eye in a credible imitation of the drawings, and Duvall is perfect as the gangly Olive Oyl.

Visually, Tess is a masterpiece, capturing in amazing detail the scenery and atmosphere of the England of yore. The film's chief drawback, however, is its lack of vitality. Instead of Hardy's passionate tale of ruin and disenchantment, Tess is cautious and reserved.

The only good thing about this would-be camp version of the classic 1936 serial is the impressive production design by Danilo Donati.

Shot in Berlin and set in the far-off future of 1994, The Apple was clearly designed to duplicate the success of The Rocky Horror Picture Show and failed dismally, in large part because the music is so stupendously banal.

This beautiful but notoriously disappointing film is one of the most overblown epic Westerns of any decade.

One of the most powerful boxing films ever made.

All in all, a fine example of what a sense of humor can do with a low budget and an old idea.

THE IDOLMAKER takes itself too seriously, but is nonetheless one of the best and most energetic film treatments of the early days of rock 'n' roll and a fine depiction of how performers are groomed for stardom (far superior to THE ROSE).

MOTEL HELL could have been a great black comedy, but the uneasy direction of Kevin Connor fails to get most of the picture off the ground.

Capably directed by Australian Bruce Beresford and well acted, Breaker Morant is a fascinating and satisfying experience.

Boasting an inventive concept, with a nicely nuanced performance from Breaking Away's Christopher, Fade To Black is a creepy little film that, perhaps, doesn't go quite far enough.

Hawn makes the most of the script, written by Nancy Meyers, Charles Shyer, and Harvey Miller, providing many funny moments in her performance.

Hurt gives a tour de force performance, masterfully conveying emotions while unable to use his face or even much of his voice.

The massive battle scenes rank with the director's best, using brilliant color, contrasting light, and the enormous cast to great advantage. Kurosawa also alternates compelling scenes of near hypnotic stillness with scenes of rousing action.

Jeannot Szwarc does well in the director's chair, and Jean-Pierre Dorleac deserves special commendation for his costumes. But Seymour is given too little to do, and Reeve does too much.

The picture is very talky, and the gags all fall flat. Director Gilbert Cates was responsible for a number of fine and sensitive films, including I Never Sang for my Father, but stumbles here.

Better than most in the slice-and-dice genre, Terror Train has a couple of decent performances from Ben Johnson and Jamie Lee Curtis, great photography from John Alcott (Barry Lyndon; The Shining), and some atmospheric direction from Roger Spottiswoode (Under Fire).

Under the masterful direction of husband John Cassavetes, Gena Rowlands delivers a gutsy, spellbinding performance in this excellent crime film.

This is a heartwarming film, superbly directed by ex-actor Tony Bill. Makepeace is excellent as the slight protagonist, and Baldwin is perfect as the brooding, misunderstood mammoth. Dave Grusin's score adds immeasurably to the tone.

This rancid horror film suffers from pretensions of social significance.