However clumsily done, the handoff has now been accomplished, and it will be interesting to see how the new crew carries the torch in subsequent movies that aren't asked to carry such weight. [18 Nov. 1994, p.5]

A marvelous feature-length cartoon with handsome illustrations and sweeping musical numbers that rival Disney's own, it's a promising debut from Rich Animation Studios, founded by former Disney director Richard Rich (The Fox and the Hound) and a team of Mouse Factory refugees. [18 Nov 1994, p.4]

Heavenly Creatures uses its special effects ingeniously, and unlike Jackson's previous credits (the cult gorefests Dead Alive and Bad Taste), it's a movie with serious artistic ambitions. He immerses you in the heightened, giddy mindset of these two girls so completely, you can understand why they'd fight so ferociously to defend it. It's a strange, vivid movie, with moments that capture the texture of dreams -- and the fervor of teenage friendship and romance -- with thrilling precision. [9 Dec 1994, p.G5]

The first half of Oleanna, David Mamet's film of his own award-winning play about sexual harassment, is carefully calculated to annoy the hell out of you -- which it does. But after a tedious beginning, Oleanna begins to turn the screws. By the end, you find yourself taking pleasure from a brutal beating, and it leaves you rattled, downright disturbed. [11 Nov 1994, p.G4]

The shrill musical score alone will keep you awake, but for a film filled with romance, zombies, mad scientists and existential quests, Mary Shelley's Frankenstein is surprisingly dull. [04 Nov 1994, p.G4]

Double Dragon is not a great accomplishment, but it never stands still long enough to get dull, its sense of humor grows on you, and its lack of pretentiousness is refreshing. [07 Nov 1994, p.C2]

The lack of imagination in Stargate is distressing. Who would agree to fund such an expensive project based on such a perfunctory and dull script? All the creativity here has been spent on nice costumes and some cool morphing Anubis headgear. The story is so cliched it's laughable. [28 Oct 1994, p.G6]

Given their off-screen love affair, how could this couple be so dry and dispassionate? [21 Oct 1994, p.G5]

The remarkable Hoop Dreams proves that even at its best, Hollywood can't match the drama of everyday life. This rich and insightful documentary, which traces five years in the lives of two Chicago inner-city kids, is more compelling than anything a pack of scriptwriters could ever concoct. [21 Oct 1994, p.G5]

For most of its running time, Wes Craven's New Nightmare is simply a s-l-o-w- tease to a paradoxical, reality-bending shockfest that never materializes. [14 Oct 1994, p.G9]

See How They Fall is at its best when coasting on the chemistry between scheming Max and childlike Johnny, whose odd- couple relationship arises out of necessity and ends up as something closer to father and son. First-time director Jacques Audiard toys with the story's timeline and wraps things up with a subtly cold-blooded ending that earns the film its noir status with a wink and a bitter smile. [10 Feb 1995, p.19G]

The River Wild is simply a procession of banal, dull situations that add up to nothing. [30 Sep 1994, p.G4]

Once in a while, A Good Man in Africa hits that elusive sweet spot between serious drama and lighthearted comedy, serving at once as a satire of political corruption, a drama about personal integrity and a comedy about carnal lust and culture clash. Most of the film, though, is a mishmash of conflicting tones, veering from one emotional extreme to another so clumsily, it's impossible to keep up. [09 Sep 1994, p.G5]

Unlike previous urban thrillers, such as the harrowing Menace II Society or the heavy-handed Boyz 'N the Hood, Fresh excels because of its delicate handling and gentle pace. It's a movie fueled by hope, not rage. [31 Aug 1994, p.E1]

Avary suggests much more than he shows, but his style carries such urgency, you walk away convinced you saw every bullet hit its mark. On that level, Killing Zoe should get Avary noticed -- the long, disastrous and occasionally suspenseful heist is the best part of the movie -- but it's the stuff at the edges that shows this guy has genuine talent. [28 Oct 1994, p.G4]

Isolated moments in Color of Night hint at Rush's visual creativity. He can spin afresh the most perfunctory scenes -- watch the clever way he shoots a simple fender-bender, or his spectacular take on an opening-scene suicide. But as the story falls into place, the visual embellishments feel increasingly hollow, like fancy icing on a grocery-store sheet cake. [19 Aug 1994, p.G5]

It's the smartest stupid movie of the summer. [5 Aug 1994, p.G5]

The Little Rascals is nowhere near as annoying as it could have been -- you will actually catch yourself laughing in spots -- and the tykes will love it. [05 Aug 1994, p.G5]

This charmingly modest and entertaining film feels warmly human, and its virtues will remain in your memory days after you've seen it. [02 Sep 1994, p.G4]

Whenever the film starts getting overly sticky, Perez swoops in to even things out. If there isn't a fat smile plastered on your face as It Could Happen to You comes to its whimsical, crowd-pleasing finale, consider yourself a cynic. [29 July 1994, p.G6]

Wood's disarmingly funny performance paired with Reiner's irreverent gags make North a fun, harmless trip. [22 Jul 1994, p.G4]

Owing to a supremely engaging cast, The Client turns out to be stand-up Hollywood entertainment. Grisham's uninspired storyline can't ruin the efforts of two of the industry's best actors at the top of their form. [20 July 1994, p.E2]

The plot in Angels in the Outfield plods some, enough to make younger kids fidget. Once the premise is established, the movie relies on a noisome reporter threatening to expose the celestial help to add suspense. The humor is aimed squarely at kiddies and is of the nerdy-guy-sits-on-a-tray-of-nachos variety. [15 July 1994, p.G4]

Directed by Russell Mulcahy (the Highlander movies), the movie never generates enough suspense to keep the storyline moving. The visual effects are splashed about carelessly, weakening the would-be climactic showdown. [01 Jul 1994, p.G5]

Despite funny moments, its attempt at baseball-as-metaphor-for-life ultimately whiffs. [29 Jun 1994, p.E4]

Getting Even With Dad halfheartedly aims to be another Home Alone, pitting inventive Timmy against bumbling Bobby and Carl. But the hijinks aren't nearly cartoonish or ingenious enough; instead, the movie is tinged with desperate, mean-spirited humor. [17 Jun 1994, p.G4]

The Lion King is everything you'd expect it to be: utterly charming, dazzling, rapturous entertainment. It's one for the ages. [24 June 1994, p.G4]

The sequel is a shameless exercise in creative pilfering. Expect the same gags (more VCR-programming tips on horseback) and annoying catch phrases (Crystal's nasal "Hellloooooo") as in the original Western spoof. [10 June 1994, p.G5]