The movie does have somewhat more lilt and levity, much of it due to Jim Carrey as the Riddler. But there's still plenty of murk, physical and metaphysical, and more psychobabble about Bruce Wayne's obsessions and repressions.

Congo is basically the old African ooga-mooga movie brought into the P.C., high-tech age.

What Eastwood and Streep have done is to bring a semblance of emotional reality to the story.

Looks like a true epic...even if it is both bloody and bloody long.

But Die Hard WAV lacks the freshness of its two predecessors: we've had it with gassy police psychiatrists and supersmart terrorists.

Ultimately, this is a war of boorishness vs. sensitivity, and the filmmakers waffle.

Every character--not just the kids, but the teachers as well--comes alive with a complexity worthy of Jean Renoir. The lyricism of Wild Reeds doesn't cast a smoke screen of nostalgia, it brings us closer to the experience of adolescence.

The film delivers the warm fuzzies without apology, and you find yourself giving in.

Depp attacks his role with relish, stamping his boot heels and recounting improbable erotic adventures in a wonderful Castilian lisp. Unfortunately, Depp's the only one flying over this cuckoo's nest. [24 Apr 1995, p.64]

A welcome paradox--an intelligent, rousing adventure for grown-up kids. [17 Apr 1995, p.66]

Domestic violence has never been more savagely portrayed on screen.

In the end, this Western is serviceable enough. Herod says if you're born bad, you're bad forever. The Quick was born bad, but it got better. [20 Feb 1995, p.72]

Once the film devolves into teary hospital scenes and courtroom shtik, you might pine for Thelma and Louise's daring road to oblivion. [20 Feb 1995, Pg.72]

Ready to Wear is all appetizers: the main course never arrives. Still, the critical savagery puzzles me. Altman's movie may be indefensible, but it's not unenjoyable. The fun of it is entirely superficial, like skimming a gossip column.

An action-packed love story with something for everyone.

Cobb is a refreshingly spiky antidote to Cataclysm all the Hollywood paeans to the suffering glory of the game. Ty Cobb approached baseball as he approached life: take no prisoners and leave scorched earth behind you. His greatness and his monstrosity can't be untangled. Cobb allows us to honor his achievements, but with no false illusions. It puts the ball in our hands: if this is an American hero, we need to figure out why. [12 Dec 1994, p.72]

Neither hilarious nor horrible, Junior is the first would-be Arnold blockbuster that coasts on charm.

For Trek devotees, it's a supernova of unpredictable sci-fi thrills, though the earthbound may find this trip through the heavens a bit tiresome, especially when the movie tries too hard to wax philosophic. [18 Nov. 1994, p.88]

Branagh's two Shakespeare films have been triumphs-meaty, moving and fun. Bard-less, the director flounders. His Frankenstein gives off the same hollow echo that Dead Again did, the same mixture of stylistic flair and insincerity.

But once the couple clinch their bond -- just when the story gets really shameless -- the life drains out of the movie. Love Affair takes such pains to dodge vulgarity it forgets to put anything in its place.

It's one of the richest movie experiences of the year, a spellbinding American epic that holds you firmly in its grip for nearly three hours.

In spite of the fact that everything turns out exactly as you think it will, director Curtis (The Hand That Rocks the Cradle) Hanson's movie, written by Denis O'Neill, is a tense, satisfying entertainment. [30 Sep 1994, p.69]

Quiz Show is supebly shot (by Michael Ballhaus), and the acting ensemble could hardly be better..."Quiz Show is witty enough never to need to get on a soapbox to make its points.

The faces of Noonan and Sillas reflect everything they're feeling. This disquieting duet of high anxiety rests entirely on their shoulders, and they're superb. [12 Sep 1994, p.60]

Though well acted, and handsomely shot by veteran Adam Holender, Fresh sacrifices real emotion for thriller contrivances. It's a tourist's drive through inner-city hell. [05 Sep 1994, p.69]

If Ang Lee sometimes piles on the sugar, he has made a truly sweet movie in a bitter time. It leaves a bracing aftertaste. [22 Aug 1994, p.62]

Stillman remains a deftly funny portrait painter of the young, willfully self-involved Anglo-Saxon male.

Perez, with a whine like a high-speed drill, quickly wears out her welcome, but Fonda and Cage exhibit an endearing lightness. This is a perfect summer souffle. [1 Aug 1994, p.56]