Peter Stack

Every instance when Turbo: A Power Rangers Movie feels like the worst movie ever made, some goofy little screechy moment involving the villainess, Divatox, saves it. So it winds up being nearly the worst movie ever made.

An extraordinary behind-the-scenes look at the comedy game.

French director Claude Berri's exquisite, methodical Lucie Aubrac is a romantic thriller so tightly drawn it almost leaves one breathless.

Doesn't quite measure up to the extraordinary sweetness of the classic children's book by E.B. White on which it is based. But then again, how could it?

A gorgeous piece of work. It pulls every heartstring a good romance should, yet bursts with G-rated fun, wonderfully human characters and several solid and hummable songs.

Though its sentiment may be lost on the very young, the movie is strictly two-hanky fare.

Accomplishes the impossible, maybe the unimaginable -- it makes golf entertaining.

Director Sidney Lumet takes another shot at New York City police corruption in his new film, but despite some solid performances, Night Falls on Manhattan fails to deliver the passion of such Lumet classics as "Serpico" and "Prince of the City."

This moody film, set in muggy Memphis, exudes a dangerous veracity that's both exciting and poisonous.

It's the kind of movie you may approach with a show-me attitude, only to be won over to its hip sense of fun and a gentle humanity that lets you walk away with a glow. [1 Oct 1993, p.C1]

The characters are beautifully drawn in this bittersweet melodrama written and directed by Mark Herman.

Better Than Chocolate is smart, funny adult entertainment -- the sex scenes are bold and convincing -- with a love story that is touching and surprisingly cheerful.

The new comedy is screechingly inane and skitters in nine directions at once.

Disney's 33rd animated feature, and its first with characters based on real people, is a stunning movie with clever twists, vivid characterizations, insightful songs and a surprising harvest of revisionist history that manages to ring smartly as pure entertainment.

Mr. Holland's Opus is a glowing tribute to the unsung heroics of those rare, gifted teachers who make a difference in life. Richard Dreyfuss, in a performance that both touches and inspires, plays music teacher Glenn Holland.

Viewers may feel let down because the depth promised by the movie's visual artistry is never quite delivered.

Full of that wonderful junky, clunky, huggable smartness that has made "Sesame Street'' an enduring phenomenon.

The film offers a fanciful, lush urban setting, unusual for Disney animated features, and a couple of good songs, Once Upon a Time in New York City performed by Huey Lewis and Perfect Isn't Easy sung by Midler.

This is an intimate, lyrical yet incendiary film, and it will please fans of both Young and Jarmusch, a filmmaker drawn to the intersection of American popular culture and a profound sense of loneliness.

What we get with Geronimo, is very good action long on Western flavor and not especially compelling in the historical sense. [01 Apr 1994, p.C16]

A raucous, in-your-face, commando-style action thriller that makes provocative use of Alcatraz as a lunatic's lair and San Francisco as a sitting duck.

When all is fretted and done, there's little dramatic payoff in this moody first feature by Bart Freundlich. But cinematographer Stephen Kazmierski's images are appealing, and the mood is on target -- Thanksgiving as hell.

A potent reminder that these characters and the actors who brought them to life will never return again. Seeing the very end of an endlessly hyped trilogy somehow puts a lump in the throat. [Special Edition]

Even if it's too self-conscious, "Going All the Way," set in 1950s Indianapolis, nevertheless has a mix of the sweet and the forlorn that somehow works.

This movie reverie has an almost laughable '80s tone - a yuppified style and even language - that practically buries Costner. [21 Apr 1989, Daily Datebook, p.E1]

A vital, sexy and touching movie that goes to the heart of what human caring is all about.

Ben Stiller seems the perfect actor to play Hollywood writer- turned-junkie Jerry Stahl in Permanent Midnight. He's got that bitter humor, the intense eyes betraying an inner life of pain. And he comes off as pathetic. The trouble is that it's hard to care -- even though the film is well-acted, artfully shot and at times haunting in its bleakness.

It's gimmicky Saturday-morning cartoon wackiness in your face -- funny, but brain-deadening.