While Bean branches out from the format developed for the television series, it remains faithful to the concepts and constructs that led to its success.

Rather than perpetuating racial stereotypes, Eve's Bayou defies them, creating several well-rounded characters and placing them in a deceptively complex story that builds to a forceful conclusion.

The absence of originality and inspiration isn't Mad City's only problem -- it also suffers from a shocking lack of subtlety.

Delpy's injection of class into an otherwise classless production raises the specter of what this film could have been with a better script and a better cast surrounding her.

The average thriller, even if it's set in a faraway or futuristic world, tends to offer visceral, ephemeral excitement, and not much else. However, while Gattaca has the energy and tautness to compare with the best of those, its thought-provoking script and thematic richness elevate it to the next level.

From start to finish, A Life Less Ordinary feels like a group of sometimes amusing, sometimes clever, and sometimes tedious skits forced to fit together.

It has an interesting subtext. I'm referring to the way the lives and friendships of these four individuals crumble in the wake of their accident.

The Devil's Advocate is a highly-enjoyable motion picture that's part character study, part supernatural thriller, and part morality play.

It's a sincere-yet-uninspired diversion, and not even two strong performances can elevate it to a higher level.

Isn't just an expose of the porn industry -- it's a provocative and involving character study, as well.

The House of Yes is what happens when a film takes the dysfunctional family melodrama to its farthest reaches. It's a bold, gutsy movie that's definitely not for everyone.

Annaud's desire to create an epic tale actually harms the production, since it results in unnecessary scenes that pad the running length to more than two hours.

Kauf, whose Stakeout was a lighter blend of the same kind of elements at work here, knows just how to play the material to keep it enjoyable. That's not an easy task, considering that the main characters are pretty reprehensible and the basic plotline is about covering up the accidental murder of a cop. Nevertheless, in part because of a series of good performances and in part because Kauf approaches things with confidence, the results are positive. Gang Related may not be Pulp Fiction, but it's not a bad foray into tangential territory.

It features a pair of well-developed characters, the plot contains some clever twists and turns, the dialogue is reasonable, and director Gary Fleder (Things to Do in Denver When You're Dead) keeps the level of tension and intrigue high. Put together, all of that adds up to a worthwhile motion picture.

Yet, although Stone has clearly made this motion picture with his tongue planted firmly in his cheek, he nevertheless manages to capture all of the tension and mystery necessary to hold the viewer's interest.

Provocative, entertaining, and impeccably crafted.

Isn't much better or worse than the average James Bond movie, except, of course, that it doesn't have the cars, the gadgets, the girls, or Bond himself.

Soul Food stays a cut above the average melodrama by keeping the characters grounded and the situations from becoming too ripe.

The Edge comes across as a parody/adventure without a clear sense of identity.

Lately, it seems that film noir has become the province of independent productions. As a result, it's refreshing to see a big-budget, studio effort of this sort that does nearly everything right.

This is a rare, "feel good" motion picture that doesn't insult our intelligence while making its play for our emotions.

A low-key holiday drama that's refreshing not only because it lacks the big discovery melodrama of most similar movies but because it's entirely believable.

As it's unspooling on screen, the film is hugely entertaining, but there are several significant plot holes that grow wider the more closely they're investigated.

Seagal fans will find that their hero is still in his usual form (his form, like his expression, hasn't wavered since he debuted in Above the Law). The action scenes are adequately directed (by Felix Enriquez Alcala, a TV director making the crossover to feature films), and there's a genuinely tense truck-and-car chase that is worth about 90 seconds of moderate excitement. The rest of the film is all by-the-book stuff, but that's what's expected whenever the name "Steven Seagal" tops the marquee.

If you like Alicia Silverstone, you'll probably enjoy Excess Baggage. This dubious road movie/romance/caper flick is clearly a vehicle for the spritely starlet, and her winsome charm is one of its strengths.

She's So Lovely isn't a flawless production, but it's a fitting tribute to John Cassavetes, and a reminder of the many ways that a woman can be under the influence.

While Chris Brancato's script doesn't reveal anything new or surprising (students of history and fans of "The Cotton Club" already know how this film ends), it's a competent piece of storytelling that incorporates elements of human interest with the threat of escalating violence.

It's the kind of high energy, fast-paced film where you can guiltlessly root for the heroine to persevere -- but that's all it succeeds at.

In fact, the title of this motion picture is quite apt -- Mimic does an excellent job of imitating not only Aliens, but several other science fiction and horror features, including such odd choices as Leviathan and The Thing. The derivative result is, as one might expect, moderately entertaining, but far from groundbreaking in its approach or execution.

Mehta has created a pair of memorable characters who are easy to empathize with, and who gratifyingly are never transformed from flesh-and-blood individuals into mere symbols.

While this is probably the actor's best turn since Rocky, and he does a credible job that may earn him the opportunity to do more "serious" work in the future, Stallone's performance is outshone on all sides. That's not a knock against him; it's an acknowledgment that the supporting cast is about the best that it can be.

Half of what's going on is never explained, and what is explained, doesn't make much sense. And that's just the beginning of the problems encountered in director Paul Anderson's ("Mortal Kombat") poorly executed endeavor.

The concept may not be bad, but there are times when the execution borders on embarrassing.

Originality may be at a premium here, but The Full Monty offers plenty of opportunities for laughter and genial smiles.

In the end, Conspiracy Theory fails to work as an action film, a romance, or a mystery -- all of which it aspires to be.

Career Girls is a wonderful diversion -- expert film making that's all the more effective because it seems so natural and effortless. The movie lacks the grit of Naked and the emotional impact of Secrets and Lies, but, because it effectively transforms two strangers into people worth caring about, Career Girls can be regarded as nothing less than a success.

In the Company of Men is anything but entertaining. It's virtually impossible to sit through this film without suffering bouts of intense discomfort, and therein lies its power.

Unfortunately, Picture Perfect uses embarrassing contrivances to sabotage what should have been a pleasant excursion down a familiar road.

Unfortunately, where the movie falls apart is in the storyline. While Spawn fans may be delighted by this effort, the uninitiated may have a hard time getting beyond the fancy special effects and often-incoherent plot.

187 offers some thought-provoking ideas and several effective performances, but the script ultimately lets down both the actors and the audience members who are watching them.

Petersen ratchets the tension up to a level where the viewer is likely to forget the imbecilic plot contrivances that have gotten the situation to this point, and just enjoy the action and adventure.

Mrs. Brown will delight and touch any viewer who seeks it out.

A clunky script that reduces the characters to one-dimensional stereotypes.

Possesses both an edge and a sense of self-mocking that's unusual for any feature, live or animated.

Contact is that rare big-budget motion picture that places ideas, characters, and plot above everything else.

It is Lee's job as a film maker to imbue these images with life, and that's a task he easily accomplishes.

The movie that "Mars Attacks!" wanted to be, but wasn't. This is a snappy, clever, often-funny motion picture that provides the perfect blend of science fiction-style action with comic dialogue.

Woo, who is known and appreciated for his unique stylistic approach to violence and bloodshed, creates a kinetic ballet of bullets and explosions that drives the adrenaline level through the roof.

Let me start by saying that Hercules, Walt Disney Pictures' 35th animated feature, makes for good family entertainment. Good, not great. While this film is capable of providing a ninety minute diversion for both kids and adults, it's a far cry from such recent classics as The Little Mermaid, Beauty and the Beast, and Aladdin.

This film, which places yet another actor in the batsuit, has all the necessary hallmarks of a sorry sequel -- pointless, plodding plotting; asinine action; clueless, comatose characterization; and dumb dialogue.

The film makers understand that it's possible for a romantic comedy to appeal not only to the heart, but to the mind as well.

Speed 2 can be numbered among the worst second chapters ever made.

The highest compliment I can offer Ulee's Gold is that it plays more like real life than a movie.

This movie is a perfect example of what's wrong with many big-budget films today: no characters, no intelligence, and, worst of all, little fun.

The great irony of this film, which is (at least on one level) about the power of writing, is that the words are of secondary importance to the overwhelming visual presentation.

A deliciously nasty, dark comedy.

Much of this movie seems like a retread of Jurassic Park (with a little King Kong thrown in at the end), not because director Steven Spielberg is intentionally copying himself, but because there's really not much more that he can do with the premise.

Brassed Off! is a traditional feel-good motion picture with an element of social commentary thrown in for good measure.

It's rare for homosexuals in mainstream motion pictures to be presented as individuals rather than icons; Love! Valour! Compassion! defies tradition by proffering its characters as real people with believable problems.

One of the most refreshing things about this movie is the manner in which it combines genres in unexpected ways.

Despite being a low-key production, La Promesse speaks volumes about how we treat other human beings and what it means to truly grow up.

Besson may have misfired with The Fifth Element, but at least he does it with flair and a sense of humor.

Travesty.

There are times when Austin Powers drags. It can be difficult to sustain even the best humor for ninety minutes, and this film, for all of the laughs it offers, is far from the best.

Breakdown is the latest in a seemingly endless traffic jam of thrillers that opens strong but finishes abominably.

Not only is it based on a fairly original premise, but the humor exhibits a distinct edge.

Are French films stuffy? At times, yes, and that's one of many reasons why even the most "accessible" French movies are relegated to art cinemas in this country. Irma Vep gleefully defies such facile labeling, however. This is a sly, sexy endeavor that presents its audacious viewpoint with style and intelligence. Irma Vep features some wonderful performances (notably those of Cheung, Leaud, and Richard), that, in concert with its sure direction and smart script, make for a wholly satisfying motion picture.

One of those pleasant movie-going experiences that doesn't offend, excite, or challenge anyone. There are all sorts of likable things about it.

In fact, this is one of the best pure disaster movies ever made (not that it has much competition). Congratulations to director Mick Jackson for a job well done.

Expectedly lowbrow and grotesque, but there are some truly inspired moments.

There's hardly a single aspect of this motion picture that seems more than superficially credible, and if the United States government is really run in the Keystone Cops manner depicted in Wayne Beach and David Hodgin's script, then this country is in a great deal more trouble than anyone suspects.

The script is smart and sneaky - by never telling the audience more than is necessary, it develops a keen sense of suspense that persists until the gritty final reel.

A bleak, black satire that occasionally strays all the way into "Pulp Fiction" territory.

The biggest flaw can be summed up in a short phrase: lack of excitement. Thrillers are supposed to be crammed with thrills (hence the name), but Anaconda is relatively barren of them.

This is a film for anyone who prefers to leave the theater smiling.

The exceptionally strong cast showcases American, British, and Australian actresses, all of whom show an astonishing willingness to appear in physically unflattering circumstances (no makeup, hair and skin caked with drying mud).

Touching, funny, sweet, and most important of all, real -- a welcome breath of fresh air.

Inventing the Abbotts has the cast and characters to be something special; the script just isn't ambitious enough.

The Saint is more of a character-based thriller than a strict stunts-and-explosions film, which is a good thing because the action sequences are mostly flat and obligatory. Even when he generates a degree of tension, director Phillip Noyce (Patriot Games, Clear and Present Danger) is unable to sustain it, and the disappointing ending is not only long and drawn out, but lacks a sense of closure.

Your reaction to Double Team will probably depend largely on how you feel about concussive action films. While this one is better than most, it still falls considerably short of what I consider to be a "good" movie. One thing's for sure, though: like most flicks that boast more stuntmen than cast members, Double Team is unlikely to function as a Sominex. You may not enjoy it, but you won't fall asleep. And that's the best thing I can say about this loud, brash, ultimately pointless morsel of eye candy.

Part of the reason The Devil's Own is endurable is because, in spite of various script deficiencies, both of the stars -- Pitt and Harrison Ford -- have an undeniable screen presence. And, while star power can't save a sinking movie, it can at least keep it afloat longer.

This is a simple story of hope and triumph, of one girl with the drive to succeed defying the odds and following her dream. It's not an original tale -- movies like this abound -- but Nava's point-of-view is fresh.

Carrey is forced to confine his antics to the needs of Liar Liar's unimaginative screenplay, and the results are mixed.

Crash has a couple of concepts which are, admittedly, fascinating and original, but not a whole lot more.

Maborosi is a worthwhile movie experience not because it ventures into virgin territory, but because its presentation is so precise and unique.

Aside from a powerful performance by Ron Rifkin (reprising his stage role) and a few quietly effective scenes, there's not much reason to subject yourself to a film this off-putting.

Anyone who enjoys well-executed romances will find a lot to like about this film, but it lacks the strength of originality evident in those movies that inhabit the genre's top echelon.

The question hanging over Private Parts' financial success is whether enough non-Stern fans will venture to see what they may view as a "cult" or "niche" film. Most who take a chance, regardless of what prejudices they harbor against WXRK's top personality, will find themselves rewarded by a surprisingly pleasant two hours.

The Daytrippers is at its best using parody to paint an incisively humorous picture of a modern American family. We see here just how dysfunctional the typical nuclear family can be, and that "family values" aren't always the solution. Even though The Daytrippers is played primarily for laughs, there's a lot of truth lurking beneath the comic exterior.

Perhaps the most impressive thing that Newell has done with Donnie Brasco is to cull an atypically low-key and introspective performance from Al Pacino, an actor known for manic, scenery-chewing efforts.

There's something almost hypnotic about the way Hard Eight develops -- even in its slowest, most tedious moments, it keeps our attention.

It is involving and entertaining, and features an intriguing, independent heroine.

Booty Call isn't a source of nonstop laughs, and there are a lot of gags that fall flat, but, on those sporadic occasions when something works, the result can be hilarious.

Lost Highway is unusually bizarre even for this atypical director. Co-written by Barry Gifford, the film ventures deeper into the nearly psychotic supernatural than any feature Lynch has previous overseen.

Despite an occasional narrative hiccup, this is a rich and moving motion picture.

A fairly routine thriller that gets high marks as a result of tight pacing and top-notch acting.

Chase, like his Vacation movies, are things of the past. This is a series that should have died with the '80s. Instead, inexplicably, it has limped on into the '90s.