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.

Regardless of whether you're a fan of the 1950s series or not, it's doubtful you'll get more than a few halfhearted chuckles out of this lifeless retread.

Not as corrosive as Russell's debut feature, "Spanking the Monkey," it's just as wild, just as strange, and even funnier.

In this impressive debut, Solonz doesn't pull any punches in conveying the side of junior high that "The Wonder Years" never depicted: the naked cruelty that some boys and girls suffer at the hands of their classmates, their teachers, and even members of their own family.

Unfortunately, while certain aspects of Girl 6 are handled with flair, the film's dramatic scope too often isn't compelling enough for subject matter of such rich and varied possibilities.

Throughout the history of film, there has been a select group of standout pictures -- movies that, for technical or artistic reasons, have made an indelible imprint on viewers. Taken as one ten-hour exploration of the human experience, Decalogue is deserving of a place in that unique cadre of films.

It's easy to admire what the Coens are trying to do in Fargo, but more difficult to actually like the film.

The film is so boisterously entertaining that it's easy for the unsuspecting viewer not to realize that there's a message here.

It's bland as often as it is affecting, and presents little that's new or original.

Wong infuses his films with style and energy. His hand-held camera is restless, always moving and shifting. The action sequences are punctuated with unusual shots and stop-motion jumps. By filming Chungking Express in such rich, vibrant manner, the director uses visual images to underscore his themes.

After My Life's in Turnaround, one could reasonably expect something more than this -- a Generation X picture that takes angst to absurd levels -- from Eric Schaeffer. Unfortunately, what we are saddled with is a whiney, talky, stagnant movie that's more pretentious than romantic, and more dull than funny. If Lucy Fell trips early on, and keeps stumbling for most of its ninety-two minute running length.

Although Rumble in the Bronx isn't Chan's best work it's still ninety minutes of solid, campy entertainment. Most of the running time is devoted to the slickly choreographed action scenes, leaving virtually no room for plot or character development.

An engrossing examination of the elemental forces that define human nature.

sStarts and finishes strong, but, somewhere in the middle, it loses its focus and its way.

Several strokes short of a respectable finish.

Jim Henson's creations have always appealed on more than one level, offering adorable playmates and positive messages to children and surprisingly sophisticated humor to adults. MUPPET TREASURE ISLAND, the fifth big screen feature to star Kermit the Frog and friends, and the second directed by Brian Henson, delivers exactly what fans -- young and old -- expect.

Despite the presence of three top-line actors and a fine supporting cast, City Hall never lives up to its promise. There's too little grit and too much predictability, and even the central character, Calhoun, is never better than half-developed. Director Harold Becker (Sea of Love, Malice) keeps City Hall well-paced, so boredom never threatens. Even so, as political thrillers go, this one stands below the likes of even Kevin Costner's No Way Out, and isn't close to the same category as All the President's Men. There's not enough substance or energy here to warrant more than a lukewarm recommendation.

Despite its name, Beautiful Girls is actually about a group of irritating, twenty-something males whose adolescent attitudes have remained with them well into adulthood.

Broken Arrow is "Speed" gone nuclear. Yet, despite all the explosions, violence, special effects, and other choreographed excesses, this film doesn't have quite the same impact. It's fun, to be sure, and the wild ride doesn't let up for a moment, but the level of tension isn't quite as high.

White Squall is a success because the good elements are so well-orchestrated that they dwarf the few obvious flaws. This film offers just about everything, including a twenty-minute white-knuckle sequence and a chance to shed a few tears. In short, it's first-rate entertainment.

It's great fun, but certainly not great art.