Kids who like the TV episodes will find more of the same here, and larger. [30 June 1995, p.53]

The techno-wizards at Industrial Light & Magic really knock themselves out here, but Casper is more serviceable than magical. [26 May 1995, p.85]

To call Johnny Mnemonic a disaster would be giving it too much credit. Disasters land loudly, resoundingly. This one lands with a dull thud. [26 May 1995, p.87]

With its beautifully crafted starburst of colors and themes spanning its requisite Victorian gravity, A Little Princess is a beguiling little supernova of a movie I can't imagine anyone not loving. [19 May 1995, p.64]

Except for a few coups de style, Amateur is a screenful of cool nothingness. [05 May 1995]

A rich mood piece, a study in bleakness, spiritual exhaustion and death. [02 June 1995, p.56]

Wild Reeds is not only Andre Techine's best film in a decade, it's one of France's, too. [22 Sep 1995, p.57]

French Kiss is a French miss. It's got the settings, but it has little magic, less charm and almost no chemistry between Meg Ryan's heartsick American innocent and Kevin Kline's shady Frenchman. [5 May 1995, p.57]

Soderbergh's sleekly malignant Underneath is a nasty little winner. [28 April 1995, p.81]

Village of the Damned has everything you want in a horror movie but the horror. [28 Apr 1995, p.90]

Friday is funnier and funkier than "Bad Boys," more homegrown-seeming, less manufactured. It plays like "House Party" with attitude. [26 Apr 1995]

It's not boring to watch, but in the end it's too lame and too tame. [21 Apr 1995]

Swimming with Sharks is fine when it puts Buddy into outrageous play. But it stumbles in a few other places, requiring a pretty hefty suspension of disbelief - first at Guy's making it into his miserable job that many would kill for, then when he finds himself on the receiving end of romantic attentions. [09 June 1995, p.57]

With keen-edged direction by Barbet Schroeder and a Richard Price screenplay loaded with venomous savvy, Kiss of Death is the most high-powered and brutal New York gangster movie since "GoodFellas." [21 Apr 1995, p.41]

Franken's feel-good inanities make you laugh, but the insipid script in which they're embedded lacks the courage of its satiric convictions. [12 Apr 1995, p.90]

But despite the vibrancy of its images and the exquisiteness of its craftsmanship, Jefferson in Paris doesn't often light a fire under its material. [07 Apr 1995]

It's more of a throwback to one of the first SNL movie spinoffs, Steve Martin's "The Jerk." It's loaded with physical comedy and enlists Farley's SNL foil, David Spade, to serve as Abbott to Farley's Costello. Farley plays the blimp on uppers, Spade plays the pinched little know-it-all nerd with a chip - a computer chip, probably - on his shoulder. What mostly keeps it going is the sheer gusto with which Farley throws himself into the clowning. It's passably entertaining if you don't think about it too much - and to see it is to realize that it works mightily at getting you to not think too much. [31 March 1995, p.59]

Lori Petty gives her enough scrappiness on screen to make her a lot of fun to watch. When Tank Girl isn't playing like "Road Warrior" meets "La Femme Nikita," it plays like "The Crow" meets "The Brady Bunch," and it's the ultimate spring-break movie. [31 March 1995, p.57]

Basically what we've got here is talent spending itself on something tired, pointless and unrewarding. [24 March 1995, p.60]

Until Exotica gets away from Egoyan at the end, it's his strongest bid yet to integrate strong feelings and sleek visuals. [03 Mar 1995, p.33]

it's an OK genre movie, providing an honest quota of scares and carried by Hoffman's way of alternating stoniness and warmth as the guy in the anticontamination suit. [10 Mar 1995, p.49]

The genius - and there is a cockeyed genius permeating "The Brady Bunch" - is that it nails the entrapment and anxiety beneath the happy faces as unmistakably as the films of Douglas Sirk did the decade before. [17 Feb 1995, p.41]

Just Cause is a textbook example of one rewrite too many. [17 Feb 1995, p.38]

The Quick and the Dead is a sly, savvy Hollywood sendup of Sergio Leone Westerns with Sharon Stone playing the Clint Eastwood righteous avenger role and Gene Hackman the heavy. You'd call it a spaghetti Western, but the budget is too high. Maybe we'd better think of it as Hollywood's first angel-hair-pasta Western. [10 Feb 1995, p.47]

Black comedy and film noir are around one another smartly and wickedly in Danny Boyle's Shallow Grave, a tense, twisty Scottish-made thriller that's going to break out of Glasgow in a big way. [24 Feb 1995]

In the Mouth of Madness is firmly lodged in the armpit of boredom. [03 Feb 1995, p.55]

There's wonder and mystery in "The Secret of Roan Inish," a handful of utterly convincing characters, knit together by Sayles' ability to freight their naturalistic moves with larger, deeper meanings. [24 Feb 1995, p.71]

This one is hollow and caves in on itself, growing wearisome and posed, ending in a burst of salvational violence and a coda of sentimentality masquerading as transcendent toughness. [13 Jan 1995]