John Petrakis

Like most sequels, this one is worse than the original. The special effects look cheaper, the villains aren't as evil and the action sequences have all the vitality and creativity of the later, lethargic Karate Kid movies. [28 Mar 1997, p.D]

Never regains its raw power once the sultry Unger retreats from the front seat of her Chevy to the privacy of her suburban bedroom.

The very strong performances in this low-budget film deserve a better narrative structure to strut their stuff.

Gives you your money's worth and then some.

Despite its familiar trappings, Better Than Chocolate turns out to be quite enjoyable, thanks to some very engaging acting, a few involving subplots and an energy that must be credited to director Anne Wheeler. [27 Aug 1999, p.I]

All of us had at least one teacher who inspired us during our formative years, and Mr. Holland's Opus is a cinematic thank you to all those chalk-stained magicians who were somehow able to spin flax into gold. It's a moving tale of sacrifice that is well worth seeing.

Though this film shows flashes of the electric writer Mamet was to become, Lakeboat is mostly distant thunder over choppy waters.

Has a melodramatic glow.

This medical miracle scene is by far the best in the film. Not because it is sexy or, perish the thought, Zen-like, but because it is pretty hilarious-a bizarre blend of the Marx Brothers, Three Stooges and Keystone Cops, with a little raunch dressing on the side. Unfortunately, the rest of the film is mostly a lot of grunting and groaning.

All the obligatory plot elements are there. Love and loss, anger and forgiveness, illness and death. But they never flow together to make a coherent story. Instead, they just pop up whenever the script is in trouble. Which is all the time.

The direction by first-timer Mark Pellington is competent, as he pretty much allows Wakefield's script to play out without fanfare. [10 Oct 1997]

Once you get used to the broad gestures, visual stylings and reach-for-the-sky emotions, you may find yourself luxuriating in this movie's undeniable grandeur.

If it's a necessary piece of history, it's a paltry piece of drama, with intentions so grand, they're absolutely deadening. [20 Dec 1996, p.C]

At this point, "The Corruptor" looks as if it's going to be just a rehash of an early Dirty Harry movie, but it surprises by taking us inside Chinatown, where we discover just how sinister and elaborate the relationships between the police and the businessmen can be. [12 Mar 1999]

Any Chekhov is better than no Chekhov, but it would be a shame if this was your introduction to one of the greatest plays of the last 100 years.

It may be a bit enigmatic and cerebral for some tastes, but if you don't mind your spirituality being served from a cracked chalice, you may find Touch is exactly what you've been seeking. [14 Feb 1997, p.G]

Ultimately, the weight of the film falls on Goofy's powerful shoulders. He does his best, but like Norma Desmond, he can only do so much.

Breillat has long been fascinated with the idea that women are not allowed to go through puberty in private but instead seem to be on display for all to watch, a situation that has no parallel with boys. A Real Young Girl seems acutely aware of this paradox.

Exceedingly clever and very sharp. [12 Apr 1995, p.7N]

It gussies up the tale with so many random subplots that by the time we cut through the morass, the film is over.

A welcome respite from the high-volume ugliness of rock extravaganza.

Spins a fairy tale web that is hard to escape.

Much to enjoy in this potpourri of silly fun and forbidden games, but a bit less ambition and a tad more focus might have helped.

Valentin is cut from the Woody Allen school of movie kids. With oversized black glasses and small-size suits, he is the total know-it-all package, right down to his insightful voice-over.

The key to the film, however, is the joyous performance of Mike Myers, who plays both the Beatle-mopped Austin Powers and the bald-headed Dr. Evil.

But once the action wanders off the playing field, "The Program" shows all the cleverness, originality and depth of the Chicago Bears' offense.

If you are willing to overlook the occasional missed block, clumsy tackle or dropped pass, there is more than enough in Varsity Blues to keep you engrossed.

Overall, Wide Awake is a sound concept that fell considerably short of its goals. [27 Mar 1998, p.B]