John Hartl

Steven Spielberg's magnificent new film, Saving Private Ryan, redefines the World War II movie.

The Last Boy Scout is no worse than Lethal Weapon, and it's slightly more tolerable than Hudson Hawk. The action scenes deliver, the storyline is efficiently handled (if utterly unoriginal), Wayans is an appealing foil, and Willis' wiseacre personality fits the character he's playing. [13 Dec 1991, p.35]

Stanley Kubrick's adaptation of the Vladimir Nabokov classic isn't as racy as the new one by Adrian Lyne, which opens in theaters tomorrow. But it's a lot funnier, thanks in no small part to the casting of Peter Sellers as a mystery man of many accents and Shelley Winters as Lolita's silly mother. [01 Oct 1998]

Although it's overly melodramatic and lacks the poetry and shading that could have turned it into a Latino Godfather, it comes considerably closer to that goal than last year's remarkably similar American Me, in which the central characters were never as carefully or sympathetically drawn. For all its flaws, Taylor Hackford has never directed a more interesting film. [28 May 1993, p.16]

The story moves beyond the limitations of its setting, transforming itself into an affecting parable about the lengths to which parents will go to protect their children from trauma, cruelty and knowledge of evil.

Self-conscious clunker.

Ricochet is gruesome, contrived and often laughable when it's trying hardest to be thrilling. But the exaggerated antagonism between the two central characters keeps it from becoming dull. [05 Oct 1991, p.C3]

Loosely based on the experiences of Kazan's uncle, the script meanders and the inexperienced Giallelis isn't always up to the task of carrying the picture, but there are many moving moments. [07 Jul 1994, p.E3]

Night on Earth makes inspired use of its well-known cast, especially during the first three of its five episodes about cab drivers around the world and their fares. For all their predictability, the stories are fun to watch because the actors dig in and work them over. [22 May 1992, p.22]

Bille August, the prize-winning director of "Pelle the Conqueror" and "The Best Intentions," takes on the much-filmed Victor Hugo novel in this sturdy, well-produced nonmusical treatment of the story starring Liam Neeson and Geoffrey Rush. [05 Nov 1998]

Instantly disposable ...Gooding appears tobe losing the momentum of his Jerry Maguire Oscar win two years ago.

The picture is part slapstick comedy, part tearjerker, but the mixture rarely works, and sometimes it's actively irritating.

The sad fact is, this 90-minutecharade - like almost every movie ever made that features "Silent Night" on the soundtrack - will be showing up on late-night television every Christmas Eve into the next century. Talk about your nightmares before Christmas. [5 Nov 1993, p.D32]

Unfortunately, director George P. Cosmatos, who took over when Jarre was fired as director, emphasizes action over character. [25 Dec 1993, p.C2]

There are some cheap shots, and there's an argument to be made about whether the film is sending up stereotypes or simply perpetuating them. But for every dubious moment, there are plenty that connect.

If you plan to build an entire movie around a whining boor, his whining should have some accuracy or wit. His boorishness should at least suggest complexity, some motivation beyond the obvious. [09 Sep 1994, p.H32]

A classic European film noir with an irresistible score by Miles Davis, it builds tension from a series of seemingly minor mistakes that echo the political/military context of the postwar era.

L.A. Confidential is at the same time his (Hanson) most personal movie and Hollywood filmmaking at its best.

What lends it novelty and makes it such wicked fun is the change of locale from a Capra-esque small town to rude, hectic New York City.

Spike Lee's liveliest, funniest, most confident movie in years, Get On the Bus suggests that he should stick to political confrontations as the basis for his stories. [16 Oct 1996, p.E3]

The movie is such a mess that it seems to have been assembled from pieces randomly picked from the cutting-room floor.

It's as wise and funny and revealing as anything ever created by Mike Nichols and Elaine May.

Blackboard Jungle created this genre (and most of its cliches) more than 40 years ago. 187 doesn't add much more than outrage and resignation. [30 Jul 1997]

A thriller that fails on every level, it doesn't even make you want to find out what happens next. [26 Apr 1991, p.20]

One doesn't expect much of Bosworth or Seagal, but Don Johnson and Mickey Rourke have, on occasion, been mistaken for actors. That becomes increasingly difficult to remember as this expensive, interminable vanity production waddles toward its predictable conclusion. [24 Aug 1991, p.C5]

This is an ambitious movie that attempts too much rather than too little.

A comedy of great charm and generosity, Ang Lee's "The Wedding Banquet" is the freshest, happiest surprise of the movie year. [06 Aug 1993, p.D16]

Manny & Lo is often on the verge of becoming too cute for comfort, and writer-director Lisa Krueger doesn't always succeed in avoiding those pitfalls. She's also better at establishing relationships and working with actors than she is at generating narrative momentum. [30 Aug 1996]