Director Armand Mastroianni, Marcello's American-born cousin, puts this oh-so-familiar material through its paces without injecting anything remotely resembling wit or personal style.

The performances are mostly good, and the direction and editing work wonders in the tight gray interiors of the juvenile prison. Not for everyone, but worthwhile viewing for the not-easily-shocked.

So unimaginative that it's more of a remake than a sequel. Reynolds and his buddies all act as if they're in a home movie as they rehash the same tired gags and dull chases that filled the original.

Lee Van Cleef (master of the menacing grin) makes the most of his role as the leader of a vengeful group of antiterrorists.

Trying to appeal to both old and young audiences, the movie ends up shooting itself in the foot.

Little more than a lengthy Twilight Zone episode.

THE HUNTER is more dead than alive. Supposedly based on a real bounty hunter's life, this episodic film never focuses on anything long enough for the audience to care about it, and characters race in and out of the story without introduction or development.

Too much time is spent on the forced romance between O'Keefe and Holcomb, an attractive waitress, however, and the slapstick becomes utterly mindless toward the end (as if the producer said, "Okay, it's time for this film to really get out of control!"). Still, the laughs keep coming.

All dressed up with no script to go, but a feverish nerve jangler nonetheless.

Powerful, humorous, and touching. (Review of Original Release)

The humor here is forced, incoherent, and sophomoric, made worse by Thomas Chong's amateurish direction.

Fresh from being terrorized in Halloween, Jamie Lee Curtis stars in this slasher clone set to the wonderful thump of disco music. Prom Night is better than most slasher movies, mainly because it's funnier.

Though the effects work of Giannetto De Rossi is generally excellent and certainly stomach-churning, most of Zombie is slow and unintentionally funny. Fulci's work has its champions, but his films are mostly dim-witted and hold little interest for anyone other than hard-core gore fans.

Before director-writer Bob Zemeckis found success with blockbuster hits ROMANCING THE STONE and BACK TO THE FUTURE, he directed this raunchy, hysterically funny comedy. Kurt Russell turns in a brilliant performance.

This movie misfires in its attempt to combine a children's dog story and adult comedy by pairing Benji and Chevy Chase. Silly and slow-moving.

This poorly plotted film concerns three middle-class suburbanites who turn to crime when faced with poverty.

The onslaught of one-liners and sight gags in AIRPLANE! is so relentless that even the most dour viewer is ultimately won over--or exhausted.

Filled with holes big enough to drive a train through and moments of suspense that prove false alarms, the story concerns two young people (Shields and Chris Atkins) who are shipwrecked on an island, develop a sexual relationship as they mature, and so forth. At a little over 100 minutes, the film feels as if huge chunks of it were edited out for pace; however, the wrong chunks have been cut.

Lawrence B. Marcus's script, which pits real life against reel life, offers plenty of wit, with most of the bons mots handed to O'Toole.

Strictly for the young ones.

THE BLUES BROTHERS is a monument to waste, noise and misplaced cool, but it does have its engagingly nutty moments.

A very tough movie, Brubaker is not for the squeamish. Director Stuart Rosenberg, whose spotty career includes credits ranging from Move to The Amityville Horror, moved into a higher strata with this one, but no matter who's directing him, one can't escape the feeling that Redford is the man behind the man behind the camera.

Reynolds' attempt to emulate Cary Grant (or Tony Curtis doing Cary Grant, as he says in the picture) falls flat, though the picture is entertaining in spots, especially those with Niven.

Eastwood is perfection as the New Jersey shoe clerk who, like Miniver Cheevey, dreamed a nostalgic dream and took action to realize it. The actor-director could have gone over the top by satirizing the very character he played so well in spaghetti westerns; instead he gives a sincere, realistic performance that silenced detractors who thought he could only play violent loners.

Up The Academy is another in the seemingly endless parade of inane teenage comedies.

Director James Bridges fails to instill much life into a narrative peopled with vapid characters.

One of the better films concerning the tensions in Northern Ireland, THE OUTSIDER stars Craig Wasson as a young Irish-American inspired by his grandfather's patriotic tales of fighting the British years ago.

Written by Fraser Clarke Heston, son of Charlton, THE MOUNTAIN MEN is a mindless, bloody pseudo-western purporting to show the last days of the fur-trapping era.