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Goldarned if the whole fool enterprise is not worth the attention of any moviegoer with a penchant for what one actor, commenting on another's Gabby Hayes imitation, calls 'authentic western gibberish.'

One of the funniest awful movies ever made.

It's not the least bit scary or suspenseful but instead quickly grows tedious. The more you struggle to keep track of the constantly multiplying plot developments, the harder it gets to care who did it.

Only Lesley Ann Warren, as a tough-talking madam, finds an effective level of stylization, using her leggy physique and wildly expressive features to create a cartoonish figure that's funny within its own boundaries.

Wilder's hysteria seems perfectly natural. You never question what's driving him to it; his fits are lucid and total. They take him into a different dimension -- he delivers what Harpo promised.

More about the myth of Karloff than the monster, this Mel Brooks pastiche is probably his best early film.

An amiable but decidedly lukewarm confection geared entirely around the two star turns.

It's certainly not a subtle movie, but with memorable performances, ludicrously over-the-top one-liners and amiable zaniness, it qualifies as a lot of fun.

There's nothing particularly special about An American Tail, save for Bluth's slick animation.

Cartoons with ambitions even this noble are as rare as Steven Spielberg films that lose money, but every character and every situation presented herein have been seen a thousand times before.

Director/co-scripter Nora Ephron pitches the humor at a cacophonous level and displays the comedic equivalent of two left feet in evolving an absurdist, slapstick yarn.

The beginning of Steve Martin's non-funny comedies. Ephron should know better as well.