Despite being broadly classified as an "adventure", it has depth and breadth that would put many dramas to shame. Well-produced, acted, and scripted, this is a film that has to be seen to be experienced, even by those who know the entire story.

In trying to do too much, Nowhere to Run succeeds at too little. Action fans will be disappointed by the amount of talk and the lack of fights. Drama lovers (few of whom will even bother with this movie in the first place) will have a hard time swallowing plot's artificiality. In the final analysis, despite not being a terminal bore, Nowhere to Run doesn't go anywhere worth following.

It is legitimately unwatchable.

If there's anything special about the film, it's that on this occasion, the emotional realism of the characters, especially Slade, is heartwrenchingly believable.

The script is a problem. It's mundane when it should be magical.

Although The Muppet Christmas Carol doesn’t really work as an adaptation of the beloved Dickens novel or as a Muppet movie, it nevertheless works on its own terms for a niche audience. It’s the kind of high concept family film that can be carted out every Christmas season and enjoyed in the same way as “Frosty the Snowman”, “Rudolph the Red-Nosed Reindeer”, or “The Year without a Santa Claus.”

As is often the case with European films, the acting is superlative...The real standout, however, is newcomer Jaye Davidson, whose performance is, without exaggeration, stunning...Not to be missed.

This is a fun motion picture on all levels, and, while it doesn't quite measure up to the standard established by Beauty, it's still one of the year's best bets for pure entertainment.

As good as the lead actor is, he's not enough to save this picture from landing on the scrap-heap of uninspired, derivative, and grotesquely distasteful character studies. Ferrara is definitely no Martin Scorsese.

This is a beautifully-shot film, and director Robert Redford (who also provides the voice-over narration) has paid painstaking attention to detail.

Grabs you by the throat and digs its claws in deep. From the moment that the unwitting viewer tumbles into the realm of Lawrence Tierney's gang of eight, they are hopelessly trapped there until the final credits roll.

The single greatest pleasure of watching this film is seeing great actors reciting Mamet's lines. It's rumored that members of the cast came to the set on days when they weren't scheduled to film so they could watch their fellow stars perform.

Bold and stirring with impeccable production values, The Last of the Mohicans is a memorable motion picture adventure, and one of the best films of the year.

Put together on a miniscule budget, the film has all the power, drama, and tension of a big-budget Hollywood thriller.

One of Unforgiven's assets is the way it overturns conventions, taking the man who is typically the hero and making him the villain, while transforming the traditional bad guy into a sympathetic protagonist.

It casts a warm, relaxed spell that evokes feelings guaranteed to bolster sagging spirits.

Gas Food Lodging deals with issues, but its strength lies in the characters that struggle at the heart of the story. Anders has made this film far from the glitz of Hollywood and the money that comes with the limelight. Hopefully, for her next project, she'll be able to maintain the gritty quality which makes her debut such a memorable effort.

Too few motion pictures cause us to think and feel this deeply.

Alien 3 is, simply put, a mess. The writers have no idea how to tell a coherent, entertaining story. With the exception of a surprise or two, there isn't much worthwhile here.

It's a bit of a throwback and a solid family film and, at the time, represented a well-intentioned leap of faith of the sort that studios rarely take.

Anyone expecting a movie dominated by figure skating will be disappointed. The Cutting Edge concentrates on its characters, with the skating limited to a supporting role. This is not a movie for cynics, nor for those who don't occasionally like to sit back and enjoy an undemanding, "comfortable" film. For unadulterated fun, The Cutting Edge may not earn a gold medal, but it's worth at least a bronze.

Joe Eszterhas' screenplay doesn't make sense, and he doesn't bother to hide this fact. In the end, Basic Instinct teases and screws us with the same efficiency that the film's femme fatale handles the protagonist.

Gut-wrenching, brutal, and powerful, American Me is not enjoyable in the conventional sense, but nevertheless stands out as one of the year's most impressive purely dramatic offerings.

Star Trek VI is an improvement over its immediate predecessor, but it lacks the energy and thrills supplied by some of the lower-numbered sequels. The original crew of the Enterprise is apparently fated to fade away rather than going out in a proverbial "blaze of glory."

Beauty and the Beast attains a nearly-perfect mix of romance, music, invention, and animation.

Dead Again does not come across as a Hitchcock knock-off, but as a motion picture that incorporates familiar themes and approaches while maintaining its own integrity and identity. Not once during the entire production is there an obviously stolen scene or camera angle replication.

T2 features bigger, bolder, more energetic action sequences than its predecessor.

The Rocketeer may not be perfect, but it's an excellent example of how to adapt a comic book to the screen.