SubUrbia is about 95% dialogue, some of which is clever, but much of which is pointless.

"Twister" is a rush. Dante's Peak, on the other hand, is a bore. Oh, it has its moments, but most of them are concentrated in the final forty-five minutes. The first hour, which is all typical disaster movie setup, is interminable.

And, while it's not bad enough for me to suggest that it should have been left where it came from, this certainly isn't a shining example of Australian cinema.

Thirty minutes into Waiting for Guffman, my stomach hurt from laughing.

It's still a lot of fun, and I welcome any film that keeps me entertained for nearly the entire running length.

For the most part, the documentary segments, in addition to being unilluminating, are intrusive.

Admittedly, Mother has a weak beginning and ending, but the material in between is what makes it worth watching. This probably isn't the funniest or most inventive comedy of the year, but it gets high marks in both categories.

A cagey, claustrophobic noir thriller highlighted by a few clever plot twists, some nicely- honed dialogue, and a half-dozen top-notch performances.

Beverly Hills Ninja is essentially a one-joke film.

Ultimately, however, owing to too many derivative elements and an erratic story that runs out of steam about halfway through, Metro is only partially-satisfying. I suppose any viewer's reaction will depend on whether they choose to see this particular glass as half-full or half-empty. Murphy fans and action junkies will probably find enough here to keep them involved and upbeat. Everyone else will likely see this material as disappointingly over-familiar. In the wasteland of early-1997 releases, you could do worse than Metro, but, by year's end, few people are likely to remember the title, let alone the premise.

There are moments when The Relic is almost enjoyable, albeit in a visceral sort of way. Unfortunately, when all is said and done, this horror/science fiction amalgamation seems like nothing more ambitious than a bad reworking of elements from Aliens, Species, Jaws, and Predator.

Whatever its faults, Ghosts of Mississippi is certainly an involving drama. However, while I have no doubt that Reiner meant for this to be an indictment against racist attitudes and a survey of some of the successes and failures of the Civil Rights movement, it succeeds only sporadically at those goals.

Tells a good, intelligent story that keeps us interested and involved.

This brash, glitzy, energetic entertainment has the power to hold an audience enraptured, but, at the same time, there's a sense that what we're experiencing is just candy for the eyes and ears.

It's a little too low-key to be an effective romance and a little too soft to be anything more ambitious. Ultimately, it's neither offensive nor horrible; it's just another unspectacular, uninspired entry on Nora Ephron's erratic resume.

Téchiné's development of Alex and Marie is masterful; Auteuil and Deneuve keep our attention riveted to the screen whenever they're on. And, while the director doesn't succeed in plumbing the emotional depths reached by Ma Saison Préferée, there are elements of Thieves that touch us nearly as forcefully -- those moments just aren't as plentiful.

A fascinating portrait not only of a lady, but of the society and marriage that entrap, then attempt to destroy, her.

Scream is a rarity: a horror movie spoof that succeeds almost as well at provoking scares as laughs.

Those who have learned to enjoy the duo on MTV (for whatever reason) will welcome this as a holiday treat. Everyone else will have a better time if they stay away.

One Fine Day has a few enchanting moments, such as a scene where Jack sweeps Melanie off her feet (literally), then splashes around in a large puddle of water. However, as a romantic comedy, this is a spotty affair because it's not really funny or romantic enough. Keeping the leads apart might work for something like Sleepless in Seattle, where the intention is to develop an old-fashioned, long-distance romance, but, in a movie like this -- one that's being pulled in so many directions that it's coming apart at the seams -- it's a mistake. For much of its running length, One Fine Day lacks focus and direction, and that makes it one fine mess.

Yet, even on those occasions when the screenplay falters, the actors are there to take up the slack.

Magic on celluloid -- fresh, funny, romantic, and upbeat. You'll leave the theater with a smile on your face and perhaps a tear in your eye.

A stillborn affair that could have been -- and should have been -- a whole lot hipper and funnier. If you've seen the two- minute theatrical trailer, you've seen nearly everything that's worthwhile in the feature.

Has its share of bitingly funny moments, and some of the comedy is quite inventive.

An affecting and endearing collaboration between Miyazaki and Kondo, it weds a coming-of-age story with a flight of fancy to good effect. Although often overshadowed by more popular titles in the Studio Ghibli catalog, this is as deserving as any 1990s Japanese animated film to be seen and enjoyed.

Although this film has more cracks than the collapsing tunnel, thrill-seekers in search of two hours of cinematic action will find that Daylight falls considerably short of being a disaster.

The narrative is little more than a flimsy envelope -- it's the men and women who are sealed within that make Sling Blade worth watching.

Even children, who will be enthralled by all the puppies, may have a hard time not fidgeting for protracted portions of the running time.