Arizona Dream is the quintessential Nuart movie. It’s a dazzling, daring slice of cockamamie tragicomic Americana envisioned with magic realism by a major, distinctive European filmmaker, the former Yugoslavia’s Emir Kusturica.

As violent scene follows violent scene, it is possible to notice how phony even the film's painstakingly constructed macho dialogue starts to sound. And Fresh's willingness to use legitimate social problems as nothing more than an excuse for cheap thrills gets increasingly off-putting. Fresh and his father may be able to push those chess pieces around at breakneck speed, but audiences will want to be treated with more respect.

Paradoxically, it is Shawshank's zealousness in trying to cast a rosy glow over the prison experience that makes us feel we're doing harder time than the folks inside. [23 Sept 1994]

Killing Zoe is a raucous, arty little neo-film-noir that comes equipped with a bucket of blood to splatter the halls of convention. It’s not terribly good but you keep expecting it to take off in unexpected directions.

Natural Born Killers is both audacious and astonishing, a vision of a charnel house apocalypse that comes close to defying description. [26 Aug 1994, p.1]

The whole question of sex blurring deserves an infinitely better film than “It’s Pat.”

It is sad, truly sad, to have to report that Color of Night is a disappointment in almost every respect.

The comic pizazz and bawdy dazzle of this film's vision of gaudy drag performers trekking across the Australian outback certainly has a boisterous, addictive way about it. [10 Aug 1994]

Airheads, directed by Michael Lehmann and scripted by Rich Wilkes, is far from great. But it sure is ripe. It's bursting with bad ideas, half-good ideas, good and bad actors yelling and mugging. Like a lot of youth comedies, it's frenetic where it should be inspired.

The Little Rascals is such an emphatically well-shaped, well-crafted picture that you wish you could have enjoyed it more than you did.

A look at the intertwined lives of a father and his three live-at-home daughters, this is more than anything a personal-scaled film, funny, emotional and compassionate toward the human comedy, Taiwan-style.

Even though It Could Happen to You has its tenderized, good citizenship side, it's been written (by Jane Anderson) and directed (by Andrew Bergman) with an embracing cheer. It's blissfully uncynical.

The problem overall is not so much that the humor, especially in the parent-tryout situations, is forced, but that it simply is not there at all. So little is going on in this mildest of fantasies that it is hard to even guess what kinds of emotional effects were aimed at in the first place.

Not particularly nuanced or fine-tuned, The Client, like its source material, is both gimmicky and involving, a fast-moving comic-book version of a comic-book novel. And while Schumacher has not been known as an actor's director, The Client is beefed up by a pair of satisfying star performances.

As the perfectionist creator of bravura set pieces, Cameron is still the leader of the pack. [14 Jul 1994 Pg. F1]

Russell is unusual among first-time directors in his ability to mold and shape performance. [28 Jul 1994 Pg. F2]

The sap in this movie rises almost as high as the Angels. It's a special kind of kiddie sentimentality: fantastical and self-congratulatory.

It's most successful when it is being off-center, a state of grace it doesn't quite have the nerve to maintain. [6 July 1994, Calendar, p. F-1]

If ever a film looked exactly the way you hoped and imagined it would, The Shadow is it. But if ever a film made you wince whenever its actors opened their mouths, The Shadow is that as well.

That’s Entertainment! III is the sunniest of memento mori, a showy tribute to the flabbergasting musicals of Metro-Goldwyn-Mayer that emphasizes both how delightful the genre was and how inescapably extinct it’s become.

First-time director Andrew Scheinman -- one of the partners in Castle Rock Entertainment -- may have too much of the Billy in himself to bring out the true roisterousness of baseball. He manages the movie with too soft a touch. The film's injected pathos isn't true to what most adults respond to in the sport -- let alone children. [29 Jun 1994, p.F5]

Impressive but uninviting, Wyatt Earp is easier to admire from a distance than pull up a chair and enjoy close-up. A self-conscious attempt at epic filmmaking that feels orchestrated as much as directed, it has noticeable virtues but chooses not to wear them lightly. And at three hours plus, it finally encourages audiences to feel as trail weary and exhausted as any of its characters. [24 Jun 1994, p.1]

Kiddies longing for a Mac attack this summer won’t be enlivened by the tepid shenanigans and mushy maunderings of Getting Even With Dad.

Even with its flaws, this latest Disney animated feature once again delivers what its audience wants.

De Bont and his team have turned in a visually sophisticated piece of mayhem that makes the implausible plausible and keeps the thrills coming. [10Jun1994 Pg. F1]

The real gold chasers are the filmmakers, who keep pilfering moments from the first film to garland the sequel in order to repeat their success.

Marshall doesn't have the gift for shamelessness, and that's why the film, with its pileup of sentimentalities, seems so processed. [04 Jun 1994]

Fear of a Black Hat is designed to be a rap version of the classic mock rock documentary This Is Spinal Tap, and the idea is so funny that for a long time the film coasts on our good will. But it should be funnier than it is. [03 Jun 1994, p.F4]

Like "The Addams Family" before it, this is one of those clever, lively and ultimately wearying pieces of showy Hollywood machinery where a glut of creativity has gone into the visuals with only scraps left over for the plot and the dialogue. [27 May 1994 Pg.F1]

There's a fundamental lack of human feeling in Beverly Hills Cop III that makes you want to avert your eyes from the people around you when the lights come up. Attending this movie makes you feel like an accomplice to the corruption. [25 May 1994, p.1]

Being blissed out may be an enviable state for a human being, but it is not necessary the best one for a film. [25 May 1994, p.F1]

Loaded as it is with undeveloped notions about feminism and individuality, nothing about it is really memorable except the appealing musicality of the fine k.d. lang/Ben Mink score, which deserves better. [20 May 1994]

Crammed with such big-name crowd-pleasers as Mel Gibson, Jodie Foster and James Garner, Maverick reaches for that Feel Good feeling. It settles for Feel OK.

With characters this alive, it's a pity that no one was able to build a more convincing film around them, instead of leaving everyone more or less out there on their own. [13 May 1994, p.1]

Lee has phenomenal presence, and his movements are so balletically powerful that his rampages seem like waking nightmares. Lee keeps you watching The Crow when you'd rather look away.

Misconceived, misguided and a completely miserable viewing experience, this is one to avoid at all costs and for all time. [06 May 1994]

Kika, which has Almodovar's characteristic high gloss, may not be a vintage film but it's nevertheless indelibly idiosyncratic. Nobody but Pedro Almodovar could have made it.

Writer Mark Saltzman and director Charles T. Kanganis do a fine job of keeping things happening and moving in an easy yet highly kinetic fashion. Although aimed at children, this smart-looking TriStar release is actually more inventive and better-paced than many a comedy for adults.

It’s a tricky, harrowing little film. Kazan keeps things fairly schematic--every plot point is secured, every look is “knowing"--but the overall effect is ambiguously unsettling.

The Favor is a pleasant romantic comedy, aimed at thirtysomethings and younger, and it affords solid roles for Harley Jane Kozak and Elizabeth McGovern. [29 Apr 1994]

The whole point of this anemic venture is to get down and party, but it comes across as a pale passe carbon of "Animal House" that's not half as much fun.

Director Dennis Hopper has the anarchic spirit to make “Chasers” pay off, and writers Joe Batteer, John Rice and Dan Gilroy have provided him with a smart script, a deft mix of slapstick, sharp repartee and sentiment.

If you have the feeling you've already seen Surviving the Game you may very well have, for it's basically the same story as Hard Target. That film may not have been top-drawer John Woo, but alongside Surviving the Game, it's a masterpiece. [18 Apr 1994, p.F3]

Most movies about rock are such dithery jobs that "BackBeat" may seem more impressive than it really is. It's lively and full of good music and it plays around with a fascinating subject -- the Fifth Beatle and his one true love. But it doesn't really illuminate that subject or those years or that music. It's a Pop treatment of Pop. [15 Apr 1994, p.F1]

It's not that Waters set out to make a social statement here. It's just that the landscape and his mindscape turn out to be a perfect fit.

Cage's naturalness as a nice guy in a big jam lends the film considerable substance while Hopper's wily foil, Boyle's tough dame and Walsh's minor-league baddie provide much amusement. With Mark Reshovsky's sleek camera work, authentic locales and William Olvis' mood-setting score, Red Rock West has style to burn.

Cronos surprises with its sophisticated and spirited look at a tale straight from the crypt. [22 Apr 1994]

Some of the gags are side-splitters, some just sit on the screen. But the film would have to be a great deal worse to prevent Naked Gun die-hards from lining up. [18 Mar 1994, p.F6]

The Paper never stops for breath long enough to be dull. But all this tumult also leads to a feeling of shellshock, of having every contrivance not nailed down thrown at the audience. Part of the problem is that many of these subplots, like Henry’s marital difficulties, are no more than Hollywood serious, dealing with adult situations in a bogus way that would be better avoided.

This much can be said for Roman Polanski's carnal hoot-fest Bitter Moon -- it keeps you wondering from scene to scene if the director has gone bonkers. No doubt a lot of the lunacy is intentional, but it's still lunacy. And not terribly enjoyable lunacy either. The film plays like a dirty joke that somehow got lost in the translation.[18 Mar 1994, p.F1]

While it's understandable that it was thought that Tess needed something more, that it couldn't go on merely being clever and fragile, this solution goes too far in the opposite direction. [11Mar1994 Pg. F9]

If The Hudsucker Proxy is a triumph, it is a zombie one. Too cold, too elegant, too perfect, more an exhibit in a cinema museum than a flesh-and-blood film, "Proxy's" highly polished surface leaves barely any space for an audience's emotional connection. [11 Mar 1994, p.1]

Given the flimsiness of the material, why settle for D. H. Lawrence when you can have the Playboy Channel instead?

Though it doesn’t manage to hold its edge all the way to the end--that darn Disney influence finally proves too strong--its comic venom is refreshing for as long as it lasts.

Not only do Grant, Scott Thomas, Callow and company handle the sprightly dialogue with aplomb, they are also adept at the doubletakes and befuddled looks that make Four Weddings both amusing and irresistible all the way through the not-to-be-missed final credits. [9 March 1994, Calendar, p.F-1]

The relationship between Gilbert and Arnie has "Of Mice and Men" vibes, but it strikes a responsive chord in a way that the rest of the film doesn't. Most of the credit for that goes to DiCaprio's performance.

Wading through blood is too much of a price to pay for Sugar Hill’s pluses, and it’s a shame the movie business has made it difficult for them to be experienced any other way.

At its best, though, Blue Chips is really about the wiggy, muscle-twitch world of high-pressure college athletics. The movie is best around the edges, when it's jamming and anecdotal and not taking itself so heroically seriously.

Although you could certainly wish that Seagal and his writers, Ed Horowitz and Robin U. Russin, could have found less preachy ways to express themselves, On Deadly Ground is otherwise lively entertainment for action fans.

A perfectly respectable thriller that mostly manages to be as crisp and efficient as the crimes it depicts, this Roger Donaldson-directed Getaway compares favorably with the Sam Peckinpah original.

He's so over-energized from the start you keep thinking he'll wear out his welcome pronto; an hour and a half later, his lunacy is still hard to take your eyes off. [04Feb1994 Pg. F6]

There's something sordid about the way the filmmakers offer up this -- shall we say questionable -- entertainment as a refreshment. [4 Feb 1994, p.C-15]

The disjointed, self-conscious, over-the-top stylistics are supposed to make it seem avant-garde but mostly it's just annoying. The artsy clutter gets in the way of the crime story, which is pretty flimsy to begin with.

The Scent of Green Papaya, a film as delicate and evocative as its name, recognizes that out of illusion can come reality.

Thanks to a relentlessly terrible script by many hands, it's a dumb movie about dumb cops that should have remained on the shelf, where it's been sitting for over two years. [31 Jan 1994, p.F5]

Ferrara hasn't merely remade Body Snatchers; he has reimagined and reinvigorated it, using the best of special-effects talent and cool directorial skill to turn out a splendidly creepy and unsettling piece of genre filmmaking that knows how to scare you and isn't afraid to try. [04 Feb 1994, p.F1]

Not as slick as “Free Willy” or as sophisticated as “Searching for Bobby Fischer,” this is a throwback to the sweet and sentimental Disney family films that Walt himself loved, a live-action fairy tale about a boy, his dogs and a darn tough race.

The problem is that it doesn't find a lot of laughs in much of anything, referential or otherwise. [7 Jan 1994]

The Mr. Inside and Mr. Outside of the Arkansas governor’s presidential campaign, with Carville playing Huck Finn to Stephanopoulos’ Tom Sawyer, these lively presences lit up Clinton’s drive to the White House and turn The War Room into a tiptop political documentary that offers a candid and entertaining backstage look at a most unlikely electoral Juggernaut.

Strongly tied to a powerful underlying reality (though it inevitably tends to simplify), this film has the additional advantage of being concerned with the emotional truth of its key relationships, adding an unusual father and son story to its incendiary mix. [29 Dec 1993 Pg. F1]

All the ways in which the killer’s evil spreads and manifests itself are consistently dazzling. The trouble is that they show up the film’s human relationships as drab and conventional in comparison.

If you're young enough to have missed some of the better Lemmon-Matthau pairings, like "The Fortune Cookie" or "The Odd Couple," then Grumpy Old Men won't seem so grumpy. [25 Dec 1993, p.2]

A few stirring shoot-'em-ups help relieve the logjam of cliches. Director George P. (Rambo) Cosmatos does an OK job at the O.K. Corral. But even the good stuff goes on for too long.

Background stylist/co-director Eric Radomski has created a terrific-looking world of film noir-influenced Art Deco skyscrapers, shadows, gargoyles and windows. Unfortunately, some of the worst-animated characters in any recent feature get in front of those stylish backgrounds.

Genuinely moving at times, Philadelphia is trying, perhaps too hard, to break America's heart. [22 Dec 1993, p.1]

Wenders’ ideas, emotions--and his characters--eventually do converge in a stately manner, rewarding the patient with a stunning, enlarging vision of human experience, a melding of the material and spiritual worlds.

So it is a surprise to say that the biggest mystery this legal thriller presents is how a film based on a novel by John Grisham, starring the bankable duo of [Julia Roberts Darby Shaw] and [Denzel Washington Gray Grantham] and written and directed by veteran Alan J. Pakula can end up more of a fizzle than an explosion. [17 Dec 1993 Pg. F1]

Quietly devastating.

Naked is a mesmerizing character study, an attempt to stretch the emotional boundaries of truth on film as far as they will go. For once we think we've seen as much of Johnny as we can take, like an etching by Escher we start to see something else, a glimpse of another person easily missed.

What a relief it is to discover that Wayne's World 2 is just as hilarious as last year's original, which was one of the best, most distinctive American comedies in years. [10 Dec 1993, p.F14]

Even by sequel standards, a minimal amount of creativity has gone into Sister Act 2, and not even the talents of its cast, including several likable young people, can compensate for this thrown-together feeling.

A handsome and respectful Western that wants to simultaneously echo and modernize the myths of the past, it is an impressive piece of work that, perhaps inevitably, ends up being more than a little cold around the heart. [10 Dec 1993, p.F8]

What seems to start out as a burlesque against the rich -- a satire of class-consciousness -- ends up mutating into something stranger and richer and more ambiguous. [10 Dec 1993, p.F4]

The Snapper is amiability itself. Good-humored and sassy, it is one of those charmingly off-the-cuff films that doesn't let its small scale stand in the way of pleasure. [03 Dec 1993, p.F1]

In the end, the great thing about “Thirty Two Short Films About Glenn Gould” is that rather than creating a desire to meet this formidable individual, it makes you feel as if in some way you actually had.

Anyone looking for the kind of comic brio that Dustin Hoffman and company brought to "Tootsie" will not find it here. [24 Nov 1993 Pg. F1]

A rehash of plot conventions from a slew of mismatched movies. A Perfect World will remind you of any number of previous films, but almost everything it attempts to do was done better the last time around.

Sonnenfeld does somewhat better with Addams Family Values than he did with Addams Family. But he still gooses the film with hyperactive slapstick whenever things get talky; he doesn't trust the performers enough, or the material, which seems designed for a less frenetic approach.

A mid-level commercial thriller, it is a solid and acceptable if not overwhelmingly exciting piece of work from a star and a director not previously known for their centrist tendencies.

The humor in this film is so elementary, so numskull, it defies description or extended discussion.

The film's tone wobbles between straight-arrow action and curdled camp. [12 Nov 1993, p.F1]

There's probably sufficient energy and violence in RoboCop 3 to satisfy undemanding action fans, but it's as mechanical as its cyborg hero.

The reason that the film (rated PG-13 for off-color dialogue) is borderline pleasant is because, even more than in the first two films, Travolta and Alley are a marvelous team.

This film turns out to revolve around a whole series of whopper coincidences, even one of which would be difficult to swallow. Not even a film this accomplished can work up enough suspension of disbelief to enable audiences to ingest them all, and just making the attempt is painful. [05 Nov 1993, p.F1]

Not only are none of these characters particularly fun to be with, but the inevitable violence that enters their lives is strong and unpleasant. [03 Sep 1993]

It takes exceptional acting to enable a story like this to take hold, and Campion has gotten it here. [19 Nov 1993]

Return of Living Dead 3 isn't bad for what it is but it's the genre itself that needs reanimation.

A more pointed genre parody intent on proving there’s noir business like show business could’ve been ripping fun. But director Carl Reiner is more intent on offering Cliff’s Notes for VCR couch spuds than satire. It’s the kind of endlessly referential, toothless spoof that sticks an elbow in your side every 20 seconds or so: “Now we’re doing the ‘Body of Evidence’ candle wax scene! Recognize the funny-hats montage from ‘Sleeping With the Enemy’? Get it?”