Too bad the acting is uneven. And the ineptly done English subtitles will have you laughing in all the wrong places.

Salomon directed the silly but diverting action yarn, which benefits from the talents of Freeman, Quaid, Driver, and White.

I must report that Reservoir Dogs has little of intelligence to say - except for a few implicit comments on the nature of loyalty and betrayal - and that it's violent to the ponit of sadism. [5 Oct 1992]

More sugary than satisfying.

The story has possibilities, but you'll spot the big plot twists long before they happen, and the acting by Judd and Cavaziel is strictly by the numbers.

There are some novelties, like views of people surfing down sand dunes, but there's also far too much self-congratulation by surfers. Don't step into this not-so-new wave unless you're a die-hard surfing buff.

Informative, but very slow going.

The action is fast, furious, and occasionally quite funny.

There are a few good laughs, but not nearly enough clever ideas to keep things hopping for two hours.

I don't mean to imply that this film is any good or that it contains an ounce of genuine insight. But as a template for the big-baby genre, it's invaluable.

Directed by Philip Kaufman, who pays equal attention to the literary ideas and sexual preoccupations of the characters, but generates little new understanding of either. [05 Oct 1990, p.12]

The more the picture reveals, the less interesting it gets, transforming its hero from an intriguing mystery man into a standard-issue screen vigilante -- and steadily upping the violence, complete with harrowing torture scenes, in a lame effort to keep our juices flowing.

Potter's trademark devices are all present, including the way characters burst into songs lip-synced to vintage recordings on the sound track.

Based flimsily on a minor F. Scott Fitzgerald story, it's an anecdote stretched to would-be epic proportions.

There's a little humor, a little suspense, and not a hint of reality. You'll tune out quickly, unless you're 11.

The story's can-do attitude and moments of soaring music make it a must-see for moviegoers seeking positive visions on the screen.

Kevin Kline has some amusing moments, but Meg Ryan's acting runs out of energy, and Lawrence Kasdan's directing is too laid-back to help her out. [7 Jul 1995, p.13]

Less a heart-stirring historical study than a nostalgic fantasy, built on a foundation no firmer than Cruise's superstar persona.

Takes a humane look at an episode in recent history that's received little attention.

I know we’re supposed to think that Besson’s daffy cinematic calisthenics are entertaining because at least they are not boring. But I was bored. It didn’t help that Morgan Freeman shows up as a brainy scientist explaining everything to us in his deepest intonations. When was the last time Freeman, a great actor, really acted?

The message is plain: Men, especially rich men, have all the power. So be sure to do what they tell you, and maybe they'll treat you nicely… It's not one I like to hear. [27 Apr 1990, Arts, p.10]

This exceedingly romantic comedy begins with flair but lapses into clichés long before the sentimental (and predictable) finale.

There's something relentlessly superficial about the movie, and in one area that cries out for sensitivity - the treatment of racial differences among the characters - it falls down badly. [22 Aug 1990, Arts, p.11]

Kevin Lima's feature-length cartoon has some funny moments, but why couldn't the gang at Walt Disney Pictures provide something for girls and moms to identify with, too? [05 May 1995, p.13]

The only real acting in this movie comes from Janet McTeer and Charles Dance as Will’s aggrieved parents. They bring some ballast to this blubberfest.

The dramatic situations aren't intense or knotty enough to match the moral issues behind them, however.

The last scenes etch one of the most revealing depictions of capital punishment ever put on the wide screen.

Ultimately more exasperating than rewarding.