The point of this enterprise is to put the slinky, husky-voiced Fiorentino into compromising positions with as many men as possible and to provide director William Friedkin (The French Connection) with an excuse to stage three long chase scenes. Seems like everybody got what they wanted out of this thing except for us. [13 Oct 1995, p.48]

Something to Talk About goes wrong when it allows its agenda to interfere with the integrity of its characters. Duvall, Roberts and Quaid strive to humanize their characters, only to be undone with narrative detours that strain credibility. Kyra Sedgwick has a more rewarding, better defined role as Grace's smart-aleck sister. The movie also falters when it turns away from relationships and toward a limp subplot about a show-jumping contest. It ain't exactly "Rocky," but it does introduce us to the movie's only sympathetic male character. A gelding. [4 Aug 1995, p.37]

First Knight manages to fill the screen with enough swashbuckling to keep things interesting for a while. [07 Jul 1995, p.29]

The picture is apparently intended to mimic the bleak futurism of Blade Runner, but with its cheap look, punk styling and dirty-looking restrooms, Johnny Mnemonic looks more likes a bad East Village nightclub. Furthermore, Longo's staging of action sequences is bland, and he doesn't seem to understand character development at all. [26 May 1995, p.36]

A slow-moving legal thriller that fills the many idle moments with scenes plucked from a random selection of Hollywood standards. [17 Feb 1995, p.52]

In an effort to work all of these characters into the plot, the movie has become incomprehensible, though I doubt anyone will care, since the movie is one big blizzard of karate chops, and that seems to be the point. [23 Dec 1994, p.33]

One of the worst Christmas comedies in history and certainly one of the worst pictures of the year, Trapped in Paradise is a movie with exactly one laugh. [02 Dec 1994, p.77]

If imitation is the sincerest form of flattery, The Swan Princess is dripping with appreciation for Disney cartoons. [18 Nov 1994, p.54]

Stunning. [25 Nov 1994, p.87]

Bacon is menacing enough, but his character, as written, lacks the shading and substance that made the villains of past Hanson films so interesting. Without the complexities, The River Wild is a so-so waterborne melodrama that compares unfavorably to Deliverance and even Cape Fear. [30 Sep 1994, p.47]

It's nice to see Scorsese making a cameo here, a kind of symbolic olive branch that may herald an overdue armistice. At last, it's OK to like Marty and Bob. [16 Sept 1994, p.53]

Killing Zoe is the worst kind of bad movie, a violent comedy that's not funny. [14 Sep 1994, p.35]

The movie sometimes gets airborne, but with an obvious strain that hurts an airy fantasy like "North." [22 Jul 1994, p.31]

Although Baldwin helps add substance to this frequently flippant movie with his earnest (when called for) performance, The Shadow isn't as grave or as chilling as the old radio serial. Here, the Shadow is resurrected in the service of tongue-in-cheek summer escapism. [01 Jul 1994, p.29]

Little Big League is wholesome, safe, reassuringly familiar. On the other hand, Little Big League is a recycling project that lacks an original or exciting moment. [29 Jun 1994, p.31]

It's formatted entertainment aimed at undiscriminating children, full of stale little bits like music video interludes, and obvious rehashing of Home Alone situations in which Culkin's resourceful character outsmarts adults. [17 Jun 1994, p.57]

The Paper is helped a great deal by its appealing cast, and there are plenty of cleverly drawn supporting characters to help move things along - Randy Quaid stands out as the paper's gun-toting columnist. [25 March 1994, p.46]

What Sugar Hill lacks is modulation. The entire movie is played at the same high level of dramatic intensity - tragedy piled on tragedy, confrontation piled on confrontation, grand speech upon grand speech. Impassioned though this approach is, it eventually takes on a cumulative feeling of bombast. [25 Feb 1994, p.38]

Romeo Is Bleeding appears to be another misfired attempt to re-create the darkly comic, genre-sendup zing of "Reservoir Dogs." The extravagant violence, luridly colorful visuals and corny hard-boiled dialogue are there. Missing is a coherent story supported by internal logic. In other words, a reason to pay attention. Other than lingerie, I mean. [4 Feb 1994, p.51]

It will entertain youngsters, the only people in America who have yet to see more "Rocky" movies than sunsets. [14 Jan 1994, p.50]

The War Room is far more interesting, however, as an unintentional commentary on the evolving (or de-evolving) nature of documentary itself, and on Pennebaker's famous style - the shaky hand-held shots, the grainy film stock, the abrupt zooms and changes in focus. The style is known as cinema verite, the very name suggesting that what you see is spontaneous and "true." [12 Jan 1994, p.36]

The movie, by German directing legend Wim Wenders, is a sequel to his imaginative, winsome "Wings of Desire," and maybe that's the problem. The second time around, Wenders' ideas just don't seem so imaginative. [04 Feb 1994, p.46]

Even moviegoers who don't own Nintendo...will thoroughly enjoy these superheroes. And chances are, this is only the beginning of their film exploits.

Mira Nair is a director who, for a change, is not obsessed by the way bigotry pulls people of different cultures apart. Instead, she is amazed by the way love keeps bringing them together. [12 Feb 1992, p.41]

Necessary Roughness has the right kind of rambunctious spirit for this kind of picture -- even if it's not quite as inventive as similar movies like the recent baseball send-up, Major League.

It's rare that a movie so cleverly conceived is so poorly executed.

Who wrote this -- Oliver North?

One of the best of the 16 Bond films, thanks to Dalton's athletic, tough and deadly new 007.