Robert Englund, receiving star billings for the first time, is delightful in his frequent incarnations as Freddy, delivering his gag lines with relish and making the grisly proceedings funny.

Tucker represents the sunniest imaginable telling of an at least partly tragic episode in recent history.

A film of challenging ideas, and not salacious provocations, The Last Temptation of Christ is a powerful and very modern reinterpretation of Jesus as a man wracked with anguish and doubt concerning his appointed role in life.

Curtis steals the show with her keen sense of comic timing and sneaky little grins and asides.

Monkey Shines is a befuddled story about a man constrained from the neck down told by a director confused from the neck up.

Very little of this is interesting or amusing on paper, which must have been a real challenge to director Randal Kleiser, who ably keeps all the surrounding players in tune to whatever it is that Herman’s up to at any given moment.

One of the most entertaining, best executed, original road pictures ever.

As high tech, rock hard and souped up as an action film can be.

The Dead Pool isn't the best and brightest of the Dirty Harry films, either, but just as invincible. It's possible that Clint Eastwood and crew are just enjoying a bit of self-mockery with this one.

Coming to America starts on a bathroom joke, quickly followed by a gag about private parts, then wanders in search of something equally original for Eddie Murphy to do for another couple of hours. It's a true test for loyal fans.

An unparalleled technical achievement... Yet the story amounts to little more than inspired silliness about the filmmaking biz where cartoon characters face off against cartoonish humans.

Schwarzenegger, who when he dons a green suit is dubbed 'Gumby' by Belushi, is right on target with his characterization of the iron-willed soldier, and Belushi proves a quicksilver foil.

Writer-executive producer John Hughes conjurs up a romance between Candy’s teenage son (Chris Young) and a local girl (Lucy Deakins), but that proves the film’s biggest letdown. Last third of the film is a real mess, as filmmakers try to whip up a crisis that will unite the family, with the redheaded twins getting lost in a mineshaft during a wild rainstorm. Despite all this, the Aykroyd-Candy pairing is charmed. Stephanie Faracy is excellent as Candy’s sweet, happy wife, and Bening is also savvy in her role.

A fanciful and funny bush league sports story where the only foul ball is its overuse of locker-room dialog.

Tug-of-war for dominance among the trio provides the interest in an otherwise ordinary crime story, as Harmon and Connery end up working to piece together clues in a convoluted smuggling caper.

Director/co-writer Gary Sherman demonstrates absolutely no interest in whether this film ever has a modicum of meaning as he rushes from one special effect to another. Even there, Sherman arrives too late.

A shrill, unattractive comedy.

A 13-year-old junior high kid Josh (David Moscow) is transformed into a 35-year-old's body (Tom Hanks) by a carnival wishing machine in this pic which unspools with enjoyable genuineness and ingenuity.

Director George Roy Hill shows little distinction with this material [from Jay Cronley’s book], but then again, the material here isn’t very distinctive. Some of the setups work better than others, though most are of the sitcom variety.

The battle scenes in Rambo III are explosive, conflagratory tableaux that make for wrenching, frequently terrifying viewing. Always at ground zero in the chaos is Rambo - gloriously, inhumanly impervious to fear and danger - whose character is inhabited by Stallone with messianic intensity.

Crocodile Dundee II is a disappointing follow-up to the disarmingly charming first feature with Aussie star Paul Hogan. Sequel is too slow to constitute an adventure and has too few laughs to be a comedy.

Willow is medieval mishmash from George Lucas, a sort of 10th-century "Star Wars" tossed together with a plethora of elements taken from numerous classic fables. Even if Lucas has bastardized his own story with derivative and unoriginal elements, kids probably will love it. For MGM Pictures, b.o. should mean recoupment of its large investment.

Although their duel offers original effects-laden thrills and stunts, it’s too little and too late.

Maniac Cop is a disappointing thriller that wastes an oddball premise and offbeat point-of-view.

Wim Wenders returns to Germany with a sublimely beautiful, deeply romantic film for our times. (Review of Original Release)

Film perfectly weaves together the gruesome behaviour of these bloodthirsty creatures and the comic asides that keep things gliding along.

Two Moon Junction is a bad hick version of Last Tango in Paris down to the poor imitative scoring by Jonathan Elias. Sexual obsession might be the aim, but the result is anything but hot.

With a couple dozen stunt persons and an earthy, warm and supportive partner (Pam Grier), Seagal kicks, kills and crushes with his skillful hands one handful after another of street hoods who try and thwart his mission.