Desmond Ryan

(Director Lionel Coleman) wisely opts for a straightforward approach with long takes that capture Cho's kinetic rhythm and rely on her talent and honed timing to carry the evening.

Has the incoherent look of a movie thrown together by a committee whose members weren't on the same page.

Defiantly different, a movie that carefully checks the pulse of its characters rather than trying to get the blood rushing.

A stalwart military inspirational.

There's nothing in Jungle 2 Jungle that hasn't been treated with more flair and imagination in dozens of other movies. [07 Mar 1997, p.03]

Cheerful mishmash.

It deserves to be more widely seen as a quite definitive exercise in mob psychology. [17 Apr 1998, p.16]

Zemeckis and Gale obviously paid attention to quality control in finishing the trilogy. They could not, however, hope to reach the quality of their first effort. [25 May 1990, p.5]

Directed by Fred Zinnemann with a feel for heartland values and belief in the need for community that Rodgers and Hammerstein urged so strongly, Oklahoma! is a hugely enjoyable film. [14 Sep 2002, p.D01]

Parker has honored the core of the work and in the process turned a great memoir into a memorable movie.

A standout.

Suave, witty and wonderfully acted ensemble piece.

Consist of little more than people arguing or clambering in and out of dusty Land Rovers.

Fry, Gilbert and scenarist Julian Mitchell make the most familiar details of Wilde's downfall fresh and new. [05 Jun 1998, p.04]

There are points, most notably and predictably in the action sequences and set numbers, where The Swan Princess comes within hailing distance of the Olympian standards that are now almost routine at Disney. What the film lacks is an equal sophistication in story-telling that talks to children on an almost subliminal level about their fears and fantasies while royally entertaining them. It is that quality, as much as technical skill, that sets Beauty and the Beast and The Lion King in a class by themselves as the finest achievements of the Disney renaissance. [18 Nov 1994, p.06]

This is very much Anderson's film. The publication of the novel made Wharton's reputation. The release of The House of Mirth should do the same for Anderson.

Richie Rich has some fun with Richie's pampered life, and Culkin seems at ease with the role of a kid who has been isolated from his peers by money and celebrity - perhaps because it surely touches on feelings in his own young life. [21 Dec 1994, p.E01]

No fewer than seven writers were recruited to create the story and screenplay for Major Payne, a textbook demonstation of how more can produce less - in this case, a comedy that has all the brio and wit of an army training manual on personal hygiene. [27 March 1995, p.D02]

Modernizing the play with resource and ingenuity, Richard III holds a mirror to our blighted age. McKellen's Richard, a master of statecraft and cunning blackmail and manipulation, is a very contemporary tyrant. [19 Jan 1996, p.03]

If Fleming had played everything as a black comedy with a satirical send-up of high school life - like Heathers - he might have had something. But The Craft has no consistency and certainly no art as it drifts into an unprepossessing display of special-effects magic. [03 May 1996, p.08]

The troupe deserves every bit of its worldwide renown, and it makes this Imax trip one well worth taking.

Stands apart from the trite conventions of most coming-of-age drama chiefly through the originality of Pool's approach and the honesty and conviction of Karine Vanasse's portrait of Hanna.

In Little Odessa, Gray proves that you can go down what looks like a familiar road and make it seem much less traveled. [30 June 1995, p.06]

It musters both the merits and the drawbacks of the landmark original.

Yet another Hollywood serving of everyman pluck, sports division.

Remarkable movie.

The Naked Gun 33 1/3 has the feel of a movie with too many jokes off the cutting-room floor. Through it all, Nielsen's consummate timing and ability to come through in the klutz makes things seem more amusing than they are. [18 Mar 1994, p.3]

His (Mamet) direction is unobtrusive, unflashy, and always willing to allow the hilarious cast all the room it needs.