Desmond Ryan

In Glimmer Man, Steven Seagal shows not a glimmer of acting range. [07 Oct 1996, p.E07]

While Dumont's movie has its striking scenes, it is doomed to a sense of lethargy and inertia by the kind of people it ponders and the context in which they are placed.

A deeply involving and disturbing movie.

Delightfully reflect the abandonment of the old image and way of life.

Robert Altman's droll 1976 deconstruction of a western icon with Paul Newman in peak form. [12 May 2001, p.E01]

Has its moments of charm, but it's ultimately a fascinating failure that surely looked better on paper than it does on the screen.

The River Wild is not a picture that tries to break new ground or even part fresh waters. Yet it is a crisp and exciting exercise, and while it may not be a watershed in Streep's career, she shows that you can take the plunge into an action movie and go swimming without going slumming. [30 Sep 1994, p.03]

A classic of subversive surrealism.

A comedy that belongs back on the drawing board.

The muddled huddle that is Necessary Roughness is one long fumble strewn with offensive lines.

One of the better Ginger Rogers-Fred Astaire outings. [14 Jun 2004, p.D01]

A fresh, striking and rewarding piece of work.

Leaves you in no doubt of where the talent is in what would otherwise be a throwaway picture.

There is no discernible train of thought in Under Siege 2, but it serves up exactly what Seagal fans want - a movie where the body count is higher than the IQ needed to enjoy it. [17 July 1995, p.D01]

Paul Scofield contributes a telling performance as an art-obsessed German officer who cares more about Monet than the lives of his men. [20 Jul 2002, p.E01]

The comedy is usually silly, and - in keeping with the fare served up at these busy counters - often tasteless. The wiry Mitchell and the chubby Thompson may physically suggest such great teams as Laurel and Hardy and Abbott and Costello, but - at this stage of their development - the resemblance ends there. [25 July 1997, p.04]

The kind of saccharine exercise that ought to do wonders for the cause of atheism. [15 July 1994, p.03]

Penny Marshall brings a logic to the premise that is sustained through most of the movie. And where the other movies snickered at the sexual possibilities in the idea, she faces up to them with both candor and taste.

Strictly for adventurous moviegoers, a peculiar experience -- a polemic that is at once watchable and repellent.

The glitter and clinking of Rodman's collection of body jewelry are supposed to blind one to the dopiness of the screenplay for Double Team. [4 Apr 1997, p.10]

A work that demands patience, and it will easily exasperate some moviegoers.

It's an awkward mix, and Simon Wincer, a director with considerable experience in animal movies, can't make the ingredients work consistently. [28 Jul 1995, p.14]

A fascinating but flawed work that demonstrates that, contrary to popular wisdom, great minds do not think alike.

Illsley's fine cast, with a riotous contribution from William H. Macy as the sheriff who falls for Harry, plays out the comedy without condescension.

A droll piece of deadpan played with mostly unerring pitch by a talented cast.

Full of pungent and telling observation.

Highlander: The Final Dimension is exactly what it seems - drivel. [30 Jan 1995, p.D01]

Wastes an A-list cast in a sorry send-up of B-movie private-eye cliches.