This vapid '80 punk party reeks of 200 Cigarettes.

Work was never funnier.

Well, it's not that hard to predict how this comedy with a little emotional depth will end. And that's not such a terrible thing, because She's All That delivers a lot of charm and quite a few nice comic touches. [29 Jan 1999, p.68]

Here is something great and startling -- not necessarily the kind of comforting, consensus-creating film that wins Oscars, but unquestionably a movie that will live in the history of the medium.

Schrader and Nolte are both at the height of their expressive powers in a film that, in its concentration and sobriety, leaves a lasting impression.

This alien high school sci-fi tale has clever wit, clever FX.

Patch Adams is either a brilliantly sly, straight-faced parody of the standard Robin Williams tearjerker or the soggiest movie of the season. [24 December 1998, p. 29]

Theory of Flight follows the standard inspirational formula. [23 Dec. 1998, p.43]

Apt to scare kids. [18 December 1998, p.72]

Boorman doesn't shy from showing Cahill as a complicated man who, in one famous incident, nearly crucified one of his own men for a minor infraction. But the portrait is a loving one, full of empathy for an oddly principled man who, in another line of work, could have made a difference and lived to enjoy it. [18 Dec 1998, p.72]

It's a Master "Plan."

Inordinately clever, sprightly romantic comedy.

One of the freshest, richest, most original films to come out of Hollywood in a very long time.

Cold, dull, lifeless. [5 December 1998, p.3]

Very Bad Things only getes worse. [25 November 1998, p. 44]

A strange, somewhat icky romantic comedy. [25 November 1998, p. 45]

For older kids and adults, it's an amazing piece of work, far more complex in its talking-animal effects and far more ambitious in design than the first film.

Normally the sound in movie theaters is of popcorn crunching. But the sound at theaters where Central Station is showing is of hearts breaking.

Ain't exactly the Bahama Mama of all horror pics. [13 November 1998, p. 56]

A fascinating whirl of politics and palace intrigue.

Working a lisping Southern accent that sounds like Truman Capote on Seconal, Sandler plays Bobby Boucher, a swamp-dwelling Cajun. [6 November 1998, p. 56]

It has the most beautiful ending of any American film in years, a coda of reconciliation and remembrance set in a gentle L.A. rain.

With style to spare, Hype Williams' gangsta rap epic Belly applies a wide range of MTV techniques slow motion, strobe effects, seemingly more fish-eye shots than there are fish in the sea to tell a confusing, fundamentally undramatic story about two holdup men from Queens (played by rappers DMX and Nas) who graduate to dealing a new kind of superpowered heroin. [06 Nov 1998, p.56]

Unflinching in its depiction of racism, anti-Semitism, violence and jailhouse politics.

It's just as well that John Carpenter makes horror movies, because here's a horrifying thought picture James Woods as an action hero. [30 October 1998, p. 44]

A rare blend of comedy and tenderness whose point is not the horrors of war but the lengths a parent will go to protect his child's innocence.

Giddily inventive.

Masterful.