The picture has such a sweet spirit, sly wit and buoyant energy that it seems to disarm potential rancor, fear or contentiousness. [16 Oct 1996, p.1]

An all-too-familiar barfly story that often seems aimless. [25 Oct 1996, p.A]

It would be a lie to suggest that there aren't some crudely effective moments in Ghost and the Darkness. After all, this is a movie where two man-eating lions pop up every 10 minutes or so, growl and drag off another fresh corpse or two. But crude effectiveness is all the movie has to offer -- and even that is a mark it doesn't always hit.

This astonishingly beautiful documentary employs microphotography of overpowering crispness and detail to create one of the most stunning records of nature the cinema has given us. [11 Oct 1996, p.J]

Yang powerfully evokes a world of pervasive greed and brutality, where conventional moral values have gone dangerously awry and life is cheap. [21 Nov 1997, p.M]

It's strictly rental material. [06 Oct 1996, p.11]

Leigh is an artist not at all blind to the world's darkness and pain. But the generosity and togetherness he and his company show in Secrets and Lies is something the movies -- and the world -- truly need. [25 October 1996, Friday, p.A]

Extreme Measures is a suspense picture that should excite thinking audiences as well as thrill-crazy ones. One possible exception: fans of Michael Palmer's novel, who may wonder why his plot and people disappeared. But after all, in movies as in medicine, extreme measures may be necessary.

May not have the size and grandeur of some of the biographical and political epics being released this fall, but I defy you to find a better written, more honest -- or yes, more satisfying and delicious -- movie this year. [27 September 1996, Friday, p.C]

Surviving Picasso is an intelligent, beautifully crafted and engrossing Ismail Merchant-James Ivory biographical portrait of the century's most famous and successful painter. [4 Oct 1996]

Violent and cynical on the surface, impassioned and celebratory below, Last Man Standing is such a carefully stylized film that sometimes it's hard to respond to it. [20 Sep 1996, p.C]

A fitfully funny retread of "48 Hours," "Fled" and dozens of others.

A sometimes-sharp, sometimes-shallow, cunningly crafted thriller that tries to rely more on ideas and character than carnage and crashes. [30 Aug 1996, p.C]

Evans and Kelleher could have used the same premise to tell a different story -- one in which viewers could relate to some of the perks of being First Kid instead of just the inconveniences. Luke could show kids a more exciting world. [30 Aug 1996, p.C]

It's the simple pleasures that endure, so it would be curmudgeonly not to share Alice's happiness as she innocently sighs, "That Sam is so thoughtful. He promised to slip me a special tube steak."

Instead of an escape from Hollywood’s cookie-cutter plots, it’s a retreat back into them, only the sexes have been changed.

Something about baseball seems to bring out the silly side in moviemakers -- even in a movie like The Fan, which starts out well-crafted and deadly serious and seems to have good enough actors and a savvy enough director to stay that way. But halfway through this thriller things go haywire. [16 Aug 1996, p.D]

Kansas City is a wonderful film, done with all Altman's offbeat virtuosity, maverick humor and creative daring -- plus the acid nip that runs through all his recent works.

What is it about vampires that brings out the worst in filmmakers these days? [16 Aug 1996, p.2]

An erratic but enjoyable sci-fi action movie with an extremely bent sense of humor. [09 Aug 1996, p.F]

I liked Flirt better than any of Hartley's films since "Trust." The playfulness he shows here seems better integrated, more meaningful, than the strange narrative whimsies of 1992's "Simple Men" or 1994's "Amateur." [08 Nov 1996]

A sprightly fairy tale full of darkness and delight from seemingly unlikely movie collaborators: author Roald Dahl and director-star Danny DeVito.

Reeves is immediately on the run after the explosion, one of at least a dozen images of him running from danger in "Chain Reaction." He runs so much, sometimes with a boring female scientist in tow, that you think he's been cast in the role of the bus in "Speed." He's shot at, bombed and chased by fireballs...But no amount of speed can distract us from an unfulfilling story about just who wants to destroy this breakthrough experiment. Only Freeman's rich voice holds any interest; it's a powerful instrument, highlighted by pauses and economy of speech, that is captivating in roles as diverse as this one and the veteran con in "The Shawshank Redemption."

Writer-director Lisa Krueger displays some talent in creating the Mary Kay Place character; I expect more daring work from her next time. [30 Aug 1996, p.2]

Heroin may be a downer, but Trainspotting definitely takes you up…a series of roaring, provocative, outrageous highs. [26 July 1996, Friday, p.C]

A dreary, needlessly violent and ugly comic thriller about a psychic hustler (Michael J. Fox) who gets more than he bargained for with his latest scam. Fox seems to be trying to get hip in the movies, and he's lost his way here.

Striptease has its moments, but by the clunky ending it has gathered more steaminess than steam.

A surprisingly emotional, simplified version of the Victor Hugo novel.