Despite all the stock characters and scenarios, Fox and company manage to bring things to life. And cut some hair.

While it misses the mark most of the time, director Hilary Brougher's film has a promising story, an impressive cast, and occasional moments of grace.

Nothing wrong with the syrupy romance Here on Earth that a megadose of insulin couldn't fix.

A stunt that fails.

The American public likes nothing better than a tragedy with a happy ending, William Dean Howells observed. But Marshall so cautiously downplays the tragic elements of his plot that the sweetness and light left a sour taste in my mouth.

It can be broadly funny when it does not lapse into lazy "Dukes of Hazzard" caricature, which is often.

As a western, American Outlaws is an utter failure. As the basis of a "Mad TV" parody, it is an unintentional hoot.

Contrived story lines and an altogether phony resolution erase whatever energy and wit the film displayed, leaving the viewer with an empty, disappointed feeling.

A mostly charmless affair.

An inert comedy starring Kristen Bell as a workaholic unlucky in love, When in Rome is a rom-bomb.

While Stealing Harvard may be a chucklehead comedy, Lee is oddly touching and funny. Mostly because, unlike Green, he's not aggressively trying to make us laugh.

This insipid take on the teens-in-peril formula, with a snake-bit ghoul chasing kids around the bayou, is truly a fangless task.

The Man on Her Mind, a mirthless, stagy romantic comedy about a pair of New York loners, isn't so much a story as a threadbare concept - a one-liner, really. An old, used-up one at that.

A syrup-thick New Age ghost story of the same sappy stripe and mawkishness as another Costner foray, "Message in a Bottle."

Director Rob Meltzer, who made the kind-of-amusing meta short "I Am Stamos," directs things in shameless, let's-get-this-thing-over-with style, throwing in some gratuitous topless (female) nudity and allowing the usually amusing Kristen Schaal to let loose with a barrage of potty-mouthisms.

Eye for an Eye's filmmakers have climbed on some high horse of social commentary, pretending this stalk-or-be-stalked suspenser is a meaningful drama about a wayward justice system where the rights of criminals supersede the rights of victims and their families. But what about the rights of moviegoers? We deserve better than this. [12 Jan 1996, p.05]

Guy Ritchie's Revolver premiered at the Toronto International Film Festival two years ago September. That's 26 months on a shelf somewhere, depriving moviegoers the thrill of jaw-droppingly awful Ray Liotta line readings, of bloody shoot-outs, bags of money, cutaways to frosty babes sucking on lollipops, and even a bit of violent anime.

Snappily written and even more snappily directed.

At this point in her career, Lopez can clearly bend the universe -- but no amount of bending can make Enough anything more than formulaic.

Where does Ed, which is about a baseball-playing chimp and his human sidekick, fit in the pantheon of simian cinema? Way, way down there - on a level with toe lint. [15 Mar 1996, p.5]

Not only do they (Gere and Ryder) lack chemistry, they lack physics, zoology, botany and geology.

The greatest lacrosse movie of the 21st century - and, unless I'm mistaken, the only lacrosse movie of the 21st century.

Reaches breathtaking lows of incoherence, sexism, racial stereotyping, and -- did I say incoherence?

As a cinematic experience, it's like being locked in a coffin for an hour and a half.

Where the first pic breezed along with gags and gunplay, this forced follow-up is artificial to the hilt - fueled on a kind of trying-too-hard hilarity that makes even good actors look bad.

A thuddingly dull remake of the 1971 crime drama starring Michael Caine.

Sandler nimbly steps into the role created by Cooper and makes it his nebbishy own, something that cannot be said for Ryder's attempt to rethink the Arthur part. Ryder is lovely, but perhaps too sincere an actress to play a wiseacre.

Like moussed hair and inverted-pyramid shoulder pads, this sloppy, sloppy slapstick is an artifact from the 1980s.