Joe Holleman

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]

The romantic relationship between the two stars is mishandled, and neither is given sufficient funny material. [16 June 1992, p.4D]

In short, "Fallen" hits the halfway point, it goes down and can't get up. [16 Jan 1993, p.E3]

All that complexity backfires at about the midpoint, leaving viewers with a standard yarn about a popular guy who makes a grossly insensitive wager after his trophy girlfriend drops him. After that, it is all a case of "been there, done that." [29 Jan 1999,p. E3]

It breaks no new ground, offers no ingenious plot twist and makes no unique character insights. But who cares when the movie is so much fun. [02 June 1992, p.4D]

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]

It would have been nice if Cowboys & Aliens had come come up with the right equation to balance originality and homage. But in the end, it all turned into trigonometry.

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]

A superficial glimpse at the man who symbolizes some of the most heroic and shameful aspects of Western heritage. Depardieu is fine as the explorer, and Weaver, Armand Assante and Fernando Rey are solid in support. But the writing never surpasses average and the exchanges on the above-mentioned issues come off sounding like a junior-high debate class or, worse yet, 15-second sound bites from political candidates. [09 Oct 1992, p.3G]

Decent performances from Emilio Estevez and Denis Leary can't rescue this movie from its weak screenplay and predictable story. [21 Oct 1993, p.7G]

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.

The movie would have been slightly better if the relationship had remained one of professional respect and personal friendship. But that would not have solved the problem with the movie's pace and suspense. Action-adventure movies should have, well, action and adventure. [12 Feb 1992, p.4F]

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]

Sure, the movie causes a few jumps. But they are the cinematic equivalent of having someone jump out from behind a door and yell boo. [23 July 1999, p.E1]

This film fails, and for several reasons - not the least being that movies about bickering police partners who fight crime with snappy wisecracks and serious weaponry just might be the most overused plot of the last 15 years. [12 April 1995, p.3E]

THE BODYGUARDS for the people who made The Bodyguard should be fired - because they should have thrown their clients to the ground and held them there until their desire to make this movie went away. [30 Nov 1992, p.3D]

The dialogue is ridiculous, the plot is silly, and the acting is cartoonish. But I'll hand this to Italian horror director Lucio Fulci: He knows how to put on a show for those dead set on seeing a violent, gory, bloody, zombie-infested midnight-flick type of a movie. [03 Jul 1998, p.E3]

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]

It is one thing to hit an audience over the head with a message, but Belly puts it in a big steel drum and drops it on you from a fourth-floor window. [04 Nov 1998, p.E3]

Is there really a need to make a 14-year-old the sexual object of adults' attention? A coming-of-age movie that tries to sympathize with a teen-ager can be enlightening. A movie that tries to tantalize us with a child is shameful. Second, the stereotype of the treacherous Lolita taking advantage of a man twice her age is not only sexist, it's misogynistic. Take The Crush and can it. [9 Apr 1993, p.3F]

This movie bogs down under heavy-handed, simplistic preachings about the environment and numerous scenes of utterly gratuitous violence. [23 Feb 1994]

The story is inane, the characters generate little sympathy and director Howard Deutch never gets this movie up to a decent running speed. [22 Jun 1994, p.5F]

Calling it "idiotic" would be unfair to all other idiotic movies. Find a word that combines moronic and malevolent. [14 July 1993, p.3F]