Joe Holleman

Depp shows again that he truly understands Thompson by delivering a nuanced performance that is remarkably different, but subliminally similar, from the wonderfully outrageous turn he provided in "Fear and Loathing in Las Vegas."

More damaging is Lurie's conspicuous "red state" rant, as he makes sure that every prominent guy in this film - save for the screenwriter and the black sheriff - fits all of the Southern stereotypes. That doesn't make it a bad movie, just one that is something less than Peckinpah's original.

My Cousin Vinny would have been a moderately funny movie in any case. But with Joe Pesci in the leading role, the movie escalates several notches to a rough-and-tumble, exciting comedy and proves that Pesci is one of the most versatile actors in the business. [19 Mar 1992, p.6E]

Usually, the plot of a romantic comedy revolved around two people wanting to marry each other. With Powell and Loy, with their charm, warmth and sex appeal, the story became about two people who were married -- and liked it. [02 Aug 2005, p.E1]

Wide Awake is a children's movie that does not rely on special effects, computer-generated trickery, bathroom humor, slapstick violence or inappropriate adult situations to satisfy its audience. [03 Apr 1998, p.E7]

A slight step down from the first two, but still very good. [02 Aug 2005, p.E1]

Although viewing this movie leaves you raw emotionally, it is a powerful testimony to one family's unwavering love and willpower, captured splendidly by Susan Sarandon, Nick Nolte and director and co-writer George Miller. [27 Jan 1993, p.5G]

Almost as good as the first film, it has James Stewart in one of his earliest roles. [02 Aug 2005, p.E1]

THUNDERHEART, a murder mystery set amid the American Indian movement on Sioux reservations in the 1970s, has its heart in the right place. But except for a few scenes, the thunder is missing. [7 Apr 1992, p.2D]

Without Limits is best when it's on the track. When it goes off the track, it sometimes does just that. [13 Oct 1998, p.E3]

Most of the credit for this successful effort goes to Miller, who simply pointed a camera at Levitch for hours and stayed out of the way. This laid-back direction helps Miller avoid that self-conscious "documentary" seriousness, edgy shots and editing that tells the audience that this is all so very important. [18 Dec 1998, p.E3]

Gets boring for adults, but kids will enjoy it. [03 Jan 1999, p.C10]

The dialogue still sparkles, but the story is a bit weaker than the previous editions. [02 Aug 2005, p.E1]

This 19th Bond film has all of the required scenes, lines, gags and gadgets to keep Bond fans pleased - as well as a few new twists to update and energize it. [19 Dec 1997, p.E3]

Wilder consistently infused his films with wit and intelligence, offering comedy in his dramas and drama in his comedies. And Stalag 17 is a shining example. [28 Mar 2006, p.E1]

Director John Boorman (Deliverance, Hope and Glory) stretched the limits of 1960s cinematic storytelling with his nonlinear plot construction, experimental camera angles and psychedelic flashbacks. While some of it seems a bit trite by today's standards, it was rather innovative at the time. [05 Jul 2005, p.D1]

HOW FUNNY CAN a movie be when it consists of stupid jokes, dreadful puns and stale sight gags? Pretty funny, actually. [21 May 1993, p.3G]

So I'll just say this: The Big Lebowksi is an excellent movie - and damn funny.

If you're looking for a political message, either for or against U.S. involvement in Afghanistan, this is not your movie. The directors were satisfied with telling us about a group of courageous, honorable young soldiers - a salute these men richly deserve.

The movie has some outstanding moments. Rock's performance and writing show that he appreciates rap music and its place in the culture, but he is not so respectful that he is incapable of skewering it. The movie's failings show up in the last half hour. Tamra Davis, known for directing many top music videos, lapses into predictability. The edge in the first part of the film goes dull by picture's end. And the story, written by Rock, Nelson George and Robert LoCash, becomes needlessly complicated, then meanders to a conclusion. [17 Mar 1993, p.3F]

And in spite of all that predictability, there is enough action, tension and Willis-like funny lines to earn this movie a passing grade. [2 Apr 1998, p.41]

The Last Days manages to accomplish something even those other esteemed works do not: It melds meticulous historical accuracy and rare film footage with an achingly human spirit provided by five survivors. And all this is delivered in a fresh, concise manner. [12 Mar 1999, p.E3]

School Ties offers a moving and uncompromising look at religious intolerance, narrow-mindedness and hatred. And although this movie is set in a prep school, it has more in common with ''Gentlemen's Agreement'' than with ''Dead Poets Society.'' [19 Sept 1992, p.7D]

It's not quite up to, or maybe down to, the level of the first two movies. But the movie rolls to a wildly funny climax at the Oscar presentations, where Drebin is mistaken for Phil Donahue. Surely, there are enough belly laughs and knee slaps to make this film worth your time. And stop calling me Shirley. [23 Mar 1994, p.6F]

A solid remake of Victor Hugo's classic about a man who steals a loaf of bread and the police inspector who hounds him for years because of it, with Liam Neeson and Geoffrey Rush. Director Bille August's focus on the love-story angles blurs the epic messages about freedom, honor and justice. [07 Jun 1998, p.C6]

The real disappointment is that director Carroll Ballard delivers such powerful racing scenes and seascapes that you wish he could have done better on dry land. But you can't argue that Ballard doesn't deliver an original, often breathtaking, view of nature. [17 Sep 1992, p.4E]

With a deadly slow beginning and an unnecessary overload of special effects, this sequel is incredibly average, doubling the number of explosions and cinematic tricks, but cutting back on story, plot and characters. [24 May 2000, p.E4]

Even after all the problems are discussed, a de Palma thriller at less than full speed is as good or better than most directors can turn out with their foot to the floor. [11 Aug 1992, p.4D]