Duane Byrge

American Promise shows the emotional toll that each boy endures, not only from the image that their privileged peers have of minority males but, accordingly, their own lack of confidence.

A gloriously inspirational film documenting music’s healing power in Alzheimer patients.

What makes this movie work is Jennifer Lopez's electric performance as Selena, capturing the charismatic aspects of Selena's stage persona and the essence of her maturity as a growing woman.

Filmmakers Shosh Shlam and Hilla Medalia probe this phenomenon, jarring viewers with an inside look at one of these “reform” centers, as well as shedding light on the mindset of these Internet “addicts.”

Unfortunately, after a terrific, deliciously devious first hour, this sophisticated, comic sex battle soars out of control, blown by its own creative excesses.

It's a breezily cheerful and affectionate send-up of the contradictions of California chic.

In this spellbinding story, filmmakers Katy Chevigny and Ross Kauffman thrust us into the red-alert lives of four E-Team members. It's a comprehensive portrayal of these people's personal and professional lives.

Smartly spreading his story beyond the end lines of the basketball court, writer-director Shelton has knocked down a sparkling, slice-of-life Americana story. As rough and shiny as chain nets on a sweltering summer day, White Men Can't Jump is a poetic, rag-tag triumph.

As a National Geographic-style pictorial, The Machine is modestly engaging.

Peter Bogdanovich has cracked the tough nut of "opening up" the Tony Award-winning hit "Noises Off" for the silver screen. Namely, he has essentially filmed the play in a series of long-cut scenes and it works splendidly. Moviegoers will be delighted by this sharply calibrated farce. Buena Vista's challenge will be to lure audiences who don't have a knowledge of this ensemble's Broadway pedigree. [20 March 1992]

Writer B.J. Nelson has skillfully combined plot elements and situations which draw from the best of Westerns and anti-Establishment cop films.

It's a veritable bagful of box office treats.

Credit to co-writer and director Marc Rocco for the film's consistently high-level performances. Mulroney and Boyle scrounge up all the right emotions and insecurities in their street couple portrayals, while Astin is particularly terrific as a pathetic, downsliding junkie. [14 Jan 1992]

Van Damme is no mere fighting machine: His performance is buffed with subtle humor and a sympathetic, self-deprecating demeanor. The bad guys are terrific: Lance Henriksen as the cold and cunning sporting promoter and Arnold Vosloo as his psycho hunting dog.

Unlocking the Cage makes its case for reevaluation of non-human animals' legal status in crisp, convincing fashion.

Polanski's crisp and twisted direction unravels one kinky film. [18 Mar 1994]

Despite its lineage and some impressive special effects, Contact is a disappointingly earthbound production, weighed down by the ballast of talking-heads dramaturgy and bloated storytelling.

In all fairness, this swill's swells are in the action: car chases, foot chases, wipeouts, shootouts, brawls and falls -- and they're terrific. Director Kathryn Bigelow pumps up the action to, indeed, full adrenal dimension. [12 July 1991]

While director David Fincher drills out some perfunctory, generic scares -- not counting Weaver's buzzcut -- Alien 3 is amazingly dull and humdrum. [20 May 1992]

The visual images are manipulative and simplistic; like the verbal ranting, they are devoid of depth.

It's not a trip of ''Nashville'' sweep. In fact, it's closer to Dullsville. [13 May 1996]

The Rocketeer is low-octane Steven Spielberg — projected in the right happy direction but lacking the gritty accelerant and around-the-edges humor and humanity of other heavy popcorn-load adventures.

While the plot is a bit light even to be carried on Wayne and Garth's droopy shoulders, it's splendidly smart, dumb stuff.

It's Costner's eye-on-the-ball exuberance that carries Dreams past its often mechanical aesthetic paces.

Overall, Space Jam is a seamless marvel as Jordan slams and jams in the Looney Tune world.

Director Underwood's ethereal and spirited touch lifts this frothy blend to its fullest, most pleasing dimension. [2 Aug 1993]

A favorable flop of the ears to director Kevin Lima for the film's overall winning tone. [07 Apr 1995]

Despite some minor Hollywood flourishes, this Buena Vista release is a superb and unflinching glimpse into the reserves of the human spirit. [13 Jan 1993]