A former gang member, his ten-year-old son, and Los Angeles street life are the main concerns of this uneven story, which isn't convincing enough as drama to achieve the consciousness-raising effect that appears to be its goal. [26 Oct 1992, p.12]

Blethyn's lively acting and some visually amusing moments lend spice to this minor but engaging comedy.

In the end, however, the story is too contrived and melodramatic to reach its full potential.

There's precious little to think about despite the screenplay's comic-philosophical musings on fate and coincidence.

Paints a sincere and serious portrait of the seductiveness of evil and the self-destructive nature of depravity.

Peregrym is a fresh-faced beauty and Bridges is enjoyably cranky, but the film is as bland as an Afterschool Special.

The overall effect is about the same -- slow start, then escalating suspense and violence. Today's shock-movie fans will enjoy shrieking at it, and others should skip it. In space, no one can hear you ask for your money back.

The acting is endearing and the story has great charm before predictability and sentimentality eventually take over.

Most of the movie is standard action fare, but the political commentary is interesting when it's allowed to surface.

This historical fantasy is too ambitious for its own good, but contains some striking imagery and likable performances.

As the corrupt, populist Louisiana governor Willie Stark, Crawford was such a swaggering behemoth that it would take Godzilla to upstage him. Sean Penn isn't quite that.

Well acted, capably directed, not as substantial as it might have been.

Although some of the acting is strong, the atmosphere is so relentlessly sleazy that many moviegoers will want to go long before the final credits.

One of those movies designed as an Oscar make-over for its star. It didn’t work in this case. Aniston was not nominated for Best Actress, perhaps because the film is so obvious about what it’s up to.

Plenty of surprises, almost all of them nasty.

Bottom line: Kingdom of Heaven is the most exciting action-adventure yarn so far this year. Just don't expect anything deeper.

Would have benefited from more flamboyant film clips and fewer folksy conversations with the garrulous old-timers it focuses on.

Resembles the yacht where it takes place. Everything is arranged for fun, pleasure, and amusement. But the vehicle itself is heavy and cumbersome, and it takes a tad too long to get us where we're going.

The performances are persuasive but the plot rattles on much too long.

The murder-mystery plot is told in rough-and-tumble style, full of sound and fury but signifying almost nothing in the end.

This well-directed Hong Kong drama is at its best when it captures the casual affection that grows between the main characters. It also touches on important Chinese social and political themes, but Kwan understates these so sketchily that they build little psychological power.

Unabashed "Star Wars" clone.

Overacted, overdirected, and overcooked in the usual Tornatore manner, but sheer energy and enthusiasm keep it watchable and listenable most of the way through.

The main characters are unremarkable, and most of the acting is dull.

I don’t get the enthusiasm for this movie, written and directed by Damien Chazelle, which is such a cooked-up piece of claptrap that I half expected Darth Vader to pick up the baton. We’re supposed to think that Terence’s tough love is more “honest” than the usual pussyfooting tutelage, but in any sane society this guy would have been brought up on charges long ago.

There's a great movie to be made about the survivors of Woodstock Nation and their children. But in order to make that movie, you first have to respect the ideals of that generation enough to at least give them their due.

Although this "Moonstruck" knockoff is diverting to watch, it's basically a low-budget loaf of Italian-American movie clichés.

Gallo's earlier work suggests he has directorial talent, but here it's buried beneath too much ego to be detectible.