Cold-blooded comedy.

A beautifully rich performance by Meryl Streep, [18 September 1998, p. 57]

Soldier's Daughter is at its best when alluding to the quasi- romantic attachments and undefined crushes that develop in small groups and keep the engines whirring. The inchoate longings go round and round, as subtly as befits the movie's rather smallish canvas. [18 Sep 1998, Pg.57]

Oughtta be much bettor.

Pure hackwork.

Offers a brilliant raw look at sexual heeling. [19 August 1998, p. 35]

Directed with great skill and intelligence by Joseph Ruben, Return to Paradise, is a rare thing among today's movies a drama of conscience. [14 Aug1 998, Pg.51]

A dicey thriller visually, De Palma kicks off the movie on quite a roll, but the story craps out. [7 August 1998, p. 57]

Satire goes 'south' in gross mismatch of hot comic duo and "Airplane" director. [31 July 1998, p. 46]

The pleasure of Ever After is that it never takes itself seriously. [31Jul1998, Pg. 47]

Though Driver's offbeat beauty and Wilkinson's weathered visage make for an unlikely pairing, it works because their passion wells from something deeper than physical apperance. [31 Jul 1998]

Steven Spielberg's best war film -- and one of the two or three best movies the director has made.

A shocking and hilarious triumph.

An on-again, arf-again comedy. [26 June 1998, p. 54]

When boy meets girl in Steven Soderbergh's jaunty, sexy Out of Sight, it happens with a bang.

Truth is, it' not very good.

Flunks the freshness test.

A painfully unfunny vehicle for Norm Macdonald, who here shows exactly why he was ousted from NBC's Saturday Night Live. [13 Jun 1998, p.27]

A sunny-looking movie about the darkest paranoia.

A small miracle of comic social portraiture, a sometimes affectionate, sometimes ironic study of a specific group at a specific moment. His work is deeply evocative and enjoyable.

Opposite attracts with its wit.

A brilliant and astounding black comedy.

Mark Wahlberg could lose some of the good will he generated from his performance in "Boogie Nights" by playing an idiotically gentle killer for hire in The Big Hit. [24 April 1998, p. 53]

A brutal and preposterous action movie about a guy, a kid and a secret code. And a whole lotta shattering glass.

This stunning work by Iran's leading film maker, Abbas Kiarostami, won the grand prize at last year's Cannes festival. Open and simple in its visual style, the film takes place largely in real time, giving it a firmly anchored sense of reality to set against its abstract philosophical concerns. The atmosphere is calm, yet the film is mysteriously, powerfully affirmative. [20 March 1998, p.60]

Denying us any catharsis, Haneke becomes a stern, finger-wagging lecturer; he seems to mean his movie as punishment, conveniently forgetting his own role in the crime. [11 March 1998, p.38]

Tommy Lee Jones seems to have misplaced the flinty resolve, gruff charm and fatherly concern that defined his earlier outing. [6 March 1998, p. 48]

It's a tired idea, and it produces an episodic, unstrung film. [6 March 1998, p.49]