Egoyan makes you pay dearly by subjecting you to large doses of film-festival-strength ponderousness. [14 Apr 1995, p.19]

Outbreak is sharp, sometimes-exploitative entertainment that does its job with great efficiency.

The Brady Bunch Movie is certainly watchable, which is a lot more than I had been expecting. [17 Feb 1995, p.19]

Nobody's Fool is funny at times and as cuddly as an old teddy bear. But this movie is being taken far too seriously in some circles.

Altman's method is risky, but when inspiration strikes the result can be wonderful. When it doesn't, the result can be, well, Ready to Wear.

You buy the movie's premise because director Fred Schepisi evokes such a rich spirit of playfulness and romance that you want to buy it. [26 Dec 1994, p.D1]

A routine action drama, Rudyard Kipling's The Jungle Book contains qualities of both forgettability and painlessness.

With its delicate fabric, this film sometimes seems in danger of unraveling. But ultimately it holds together, partly due to Foster's fine, poignant performance and also because some of the characters surrounding Nell reflect aspects of her personality. [23 Dec 1994, p.23]

Director Donald Petrie (Grumpy Old Men) and his screenwriters have nimbly constructed a movie around young Culkin in such a way as to almost conceal the boy's shortcomings - or, at least, to divert us from them for surprisingly long stretches of time. [21 Dec 1994, p.E1]

Shelton's approach in Cobb is stunningly successful and also very funny, in a jolting, in-your-face sort of way. Instead of taking the usual sports-biopic tack of glorifying his subject, he digs deep into the dirt of the athlete's life and somehow comes up with a weird sort of anti-glory glory.

By putting Thompson together with Schwarzenegger, DeVito and the others, Reitman creates abundant opportunities for comedy. The situation is ripe with possibilities. [23 Nov 1994, p.E1]

Fortunately, director David Carson and screenwriters Ronald D. Moore and Brannon Braga (all of whom have served in the Star Trek universe) keep the longueurs to a minimum. Whenever you feel like beaming up (or is it out?), they switch scenes.

With Heavenly Creatures, we're always on the outside looking in. And if that view is far from boring, it lacks some of the high drama that a more inside perspective might have offered. [23 Dec 1994, p.26]

At a time when a lot of very silly and terribly dangerous things are being said about sexual harassment, Oleanna sheds a remarkable amount of light on one of the major issues facing us as we struggle, both women and men, to play out our new roles. [02 Dec 1994, p.20]

Half of a wonderful movie is nothing to sneeze at. A love affair that ends badly can still be an affair to remember. [21 Oct 1994, p.27]

Although the filmmakers are subtle in their methods and unobtrusive in their interviewing style, they make their points forcefully.

The thrills and spills are often fun, despite their predictability. Watching this movie doesn't seem so much like white-water rafting as it does like taking a theme-park thrill ride that you've already taken a few dozen times. [30 Sep 1994, p.25]

Although Moretti's deadpan delivery and his film's relaxed pacing may be too unemphatic for some, those on his wavelength will be delighted. If you like this sort of comedy, treat yourself to Caro Diario. [09 Dec 1994, p.34]

The formulaic plot does not give the actors that much to work with. Swank, though, does a good job as Julie. [16 Sep 1994, p.2]

Connery doesn't have many scenes, and he does manage to keep his dignity while he is on the screen. That's more than I can say for a lot of the actors in this movie. [09 Sep 1994]

Fresh is easily one of the best of the new ''hood flicks'' because it doesn't neglect the basics. There's a story here - a good one - and characters you can connect with.

Color me dissatisfied with Color of Night. For starters, it's a murder mystery with a really obvious solution. How obvious? It's so embarrassingly obvious that even I figured it out - and I can never figure these things out.

To her credit, Spheeris elicits winning performances from most of the kids. [05 Aug 1994, p.6]

In Eat Drink Man Woman, Lee's ingredients are wholesome enough and correctly prepared, and the finished product is attractively presented. There's also some inspiration here - enough, perhaps, for a fine meal but not quite enough for an entirely satisfying motion picture. [16 Sep 1994, p.20]

It Could Happen to You does present a life-affirming message about keeping your word - a message that undoubtedly will lead somebody to proclaim it the "feel-good movie of the summer." Yes, it's nice. Very nice. But nice ain't always enough.

The problems with North go beyond casting, however, way back to the movie's central idea and to the filmmakers' failure to think it through. [22 Jul 1994, p.23]

The Firm and The Pelican Brief, both of last year, were solid entertainment. Now along comes the movie version of The Client - the best of the Grisham film trilogy.

Despite its heavy use of romantic sentiments, Angels in the Outfield is a heartwarming fairy tale that left me with a happy feeling. [22 July 1994, p.29]