Sayles cannily blends drama, romance, mystery, and social observation into a satisfying, if slightly overlong, whole. In the hands of a lesser film maker, this material could easily have degenerated into routine melodrama, but Sayles keeps it on a consistently high level.

It takes the usual chases, explosions, and shoot-outs, and places them in plot that involves all sorts of computerized and electronic gadgetry. Often, as is the case here, not much attention is paid to whether the "science" is technologically feasible, but if something looks and sounds neat, why not use it?

The Hunchback of Notre Dame isn't bad, it's just a little disappointing. Despite the over-hyped and overexaggerated darkness of the production, kids will love it.

This film is aesthetically pleasing but not emotionally satisfying. It's occasionally erotic but rarely dynamic.

Although not as expertly-crafted as "Die Hard" or "Speed," The Rock is exhausting in its own right -- and that's just one of several convincing reasons to see this film.

Although The Phantom is more often enjoyable than not, it lacks that special characteristic necessary to provide it with a unique identity. Arriving in the midst of so many "can't miss" offerings, I expect it to sink like a rock, moving quickly to "dollar theaters" then to video. I'd like to be able to champion this film, but the truth is that I'm tiring of the genre as a whole, and, while The Phantom opts for a different tone than most of its brethren, it's still not an especially memorable motion picture. This is the kind of movie that offers modest entertainment while you're in the theater, but is forgotten by the time you get home.

Writer/director Mangold never compromises the integrity of his painfully-intense script. There isn't one crowd-pleasing moment in the entire movie, except perhaps the last scene, which offers a flicker of hope.

While this particular film doesn't boast any radical or surprising ideas, it combines numerous familiar plot elements into a suspenseful, entertaining whole. Best of all, perhaps, is the realization that some thought went into writer/director David Twohy's script. This is not a dumb movie; in fact, with its heavy reliance upon real science, it's startlingly credible.

Even with ILM providing nearly-flawless special effects, Dragonheart lacks a much-needed spark. It's obvious and plodding, and only occasionally impressive.

Director Rick Friedberg (who made the "bad golf" videos with Leslie Nielsen) has crafted a dreadfully unfunny comedy that takes Naked Gun-like sketches and rehashes them without a whit of style or energy.

This movie isn't a disaster, but, all things considered, there's little reason to make it a high priority for theatrical viewing.

Doesn't have any pretensions. It is what it sets out to be: an effective piece of big money, early summer entertainment designed to blow viewers away.

Filmed in black-and-white with an eerie score by Neil Young, and using contemporary dialogue and mannerisms, Jarmusch's picture has a dream-like quality.

There's nothing deep or meaningful to be unearthed in this feel-good comedy, but it nevertheless makes for solid entertainment.

The element of high camp that makes for enjoyable "good trash" isn't present.

This is a film of powerful ideas, impressive set design, and compelling performances.

The really disgusting thing about this movie isn't the crude jokes themselves, but how grossly unfunny they all are.

There aren't many surprises, but the script is written with a degree of wit, and there are some bitingly funny one-liners (all of which are delivered by Garofalo).

Mulholland Falls isn't a bad film, but it definitely is disappointing, especially coming from director Lee Tamahori, who brought the powerful Once Were Warriors to the screen. Tamahori's direction is inconsistent, but, ultimately, this movie is undermined by its screenplay. Certain aspects are laudable, but, all things considered, those elements aren't enough to keep Mulholland Falls from slipping over the edge into mediocrity.

This film mistakes action for energy, ridiculous circumstances for comedy, and a mismatched male/female pairing for romance.

Celtic Pride has numerous weaknesses, most obviously an overly-happy ending that seems distressingly sincere (as opposed to lampooning this kind of finale). The film also exhibits an unwillingness to divorce itself completely from sports film cliches and conventions. On the whole, however, Celtic Pride is surprisingly effective and entertaining. You don't even have to be a Celtics fan to appreciate it. In fact, considering who becomes the butt of the film's ultimate joke, perhaps it's best if you're not one.

The Substitute has its moments, all of which fall in the realm of high camp. One scene not to be missed: Shale, attempting to get his class' attention, roars, "I'm the warrior chief! I'm the merciless god who rules over everything that stirs in my universe!" It's a hilarious moment, and I'm reasonably certain the director intended for it to be so. Nevertheless, aside from a lot of only moderately-satisfying violence, The Substitute comes across as rather lame. It's not boring, but that dubious qualification isn't enough to earn the movie a passing grade.

This is as witless as movies come -- an unamusing, moronic blend of horrible acting and inept screenwriting.

As profound and intelligent as it is moving, and that makes this memorable motion picture one of 1996's best.

A kinetic, visually dazzling thriller that's actually a notch above many of its predecessors - albeit only a small notch.

Obviously, the primary reason to see James and the Giant Peach is for its visual splendor.

Despite high production standards and a slick advertising campaign, Primal Fear is as trite and routine as any made-for-TV courtroom drama.

Despite its good intentions, A Family Thing could easily have been a mediocre drama, but the excellent performances elevate the film considerably.