Barbara Shulgasser

Lou Holtz Jr.'s script is a clever, half-serious indictment of television.

Somehow, although this film's unevenness tends to take us out of the action now and then, there's something kind of agreeable about it. Aiello is extremely funny and so, in his creepy way, is Spader.

The movie's coda is completely ridiculous and, worse yet, boring.

It took four people to write the screenplay for The Relic. All I can say is that I hope these people have not quit their day jobs.

Becky Johnston ( "The Prince of Tides" ) did creditable work on the screenplay, but there are times when this story about a truly rotten fellow seems to be one big jump cut.

Handsome, well-acted, well-written and beautifully directed movie.

Neeson simply has no spark here. He is good and honest and honorable until your face turns blue. He's just no fun.

When Party Girl isn't being silly, it tries to be endearing and socially redeeming, and to a good degree succeeds.

A big, silly movie about the famed goatish painter that stars the nearly perfect Anthony Hopkins.

Even overlooking the fundamental inanity of the movie, one is left to contend with some offensive racial stereotyping.

In the case of Jon Robin Baitz's script, adapted from his play, in spite of the fact that he made considerable alterations in the text to open it up to cinematic possibilities, the movie disappoints in much the same way the play did.

Except for the casting, it would be difficult to find any substantial difference between this movie and the previous ones, or this movie and any number of high-tech adventure movies of the last decade.

With a distractingly cute Quinn, a cartoonishly stern Giannini and woozily romantic Reeves and Sanchez-Gijon, this movie is overflowing with ditsy good will. But it just won't be everyone's cup of Chardonnay.

Director Joel Schumacher and screenwriter Akiva Goldsman seem incapable of emphasizing what's important and relegating the rest to secondary status.

Cronenberg has said that he made the film to find out why he was making it. You may watch it for the same reason.

Giving especially good performances are Aniston, Mahoney, McGlone and Burns. Not that this movie is bad; it's just not as great as "McMullen."

It just doesn't work.

What's pleasing about this movie is its enduring adherence to the Bondian ideal.

Eastwood is perfect as the bad guy (a thief) you root for.

Nostalgia has no real point to make here. All that Famuyiwa can hope to accomplish is to tell his story well. In this area he is less than competent.

Director Simon West makes an impressive feature debut in this relentless action-comedy that is, more than anything else, about how funny it is to see hundreds of people exploded, shot, knifed, propellered and burnt to death, and how to land a plane on the crowded Vegas strip.

To enumerate exactly how Bean messes up would be to expose the silliness of this movie, and since Bean's humor is terribly silly, rather, wonderfully silly, there isn't much point in going into detail.

This sequel is much better than the original "Under Siege"...The real coup here is the discovery that when you eliminate dialogue, and thus eliminate Seagal's efforts to act in that rather high voice of his, the movie takes on a surprising gravity. When Seagal doesn't talk, he verges on the dignified. It's kind of scary.

The moment this movie began to go wrong, so wrong, was when the word "angels" started working its way into the script, coming out of the mouths of people we are supposed to respect and look to for hope.

The movie is, more than anything else, great fun to watch. The sets and costumes are stunning. The women are beautiful. The men are dashing. What's not to like?

Opening with a wearying series of nasty and violent episodes attesting to Bill's predilection for solving problems by shooting at them, and his nearly comic indignation at having his hat touched (men have died at his hand for committing that transgression alone), the movie quickly establishes a pattern of bad decision-making on the part of the writer-director.

This movie has everything.

While the original conception of The Saint gave us a debonair, sophisticated and roguish detective, the new movie, directed stiffly by Phillip Noyce ( "Clear and Present Danger" ), gives us Val Kilmer as a greedy high-tech daredevil thief with the moves of Batman, the clunky disguises of Tom Cruise in "Mission: Impossible" and the morals of an alley cat.