While Seven lacks the cleverness of the superior "Usual Suspects," it's strong enough to hold its own against most other thrillers.

This film is like a shiny, red apple that's rotten to the core -- despite slick direction and a glossy sheen, it reeks of decay. Showgirls isn't a good drama, a good thriller, or even good pornography.

There's not a slowly-paced scene or a dull moment to be found. If nothing else, this film won't bore the average viewer. However, when Hackers has been dissected, what's uncovered beneath the flashy skin is an old-fashioned, film-by-numbers thriller.

There's nothing especially original about Unstrung Heroes, but the story is told with intelligence and sensitivity.

Ultimately, Clockers probably attempts too much, and ends up seeming overcrowded as a result.

This is a bad movie with a good sense of humor.

The real problem with Desperado, however, is that this sequel is without purpose and may be the most unnecessary follow-up since the second "Crocodile Dundee."

You don't have to be Catholic, or Irish, or even American, to "get it." Burns' language, despite originating on Long Island, is universal in appeal and meaning.

The Usual Suspects is an accomplished synthesis of noir elements and, as such, is an entertaining entry to the genre.

In the case of Dangerous Minds, we get an idealized version of inner city life, where, though problems may require more than the wave of a magic wand to remove, the solutions still seem too facile.

The most disconcerting thing about A Walk in the Clouds' tendency towards overt melodrama is that almost all of it is totally unnecessary. Minor script changes could have eliminated huge chunks of this, leaving behind an uplifting love story. Even as it is, however, there's still something special about the motion picture. I just wish the final half-hour hadn't been such a bloated disappointment.

Through a mixture of imaginative storytelling, impressive animatronics, and irresistible cuteness, Babe casts a spell over all viewers -- young, old, or somewhere in between.

Nevertheless, given Washington's presence and the promise of a virtual reality action story, Virtuosity has some appeal -- provided, of course, the viewers aren't selective.

Robert Duvall does far from his best job here. His is basically a "mail it in" performance, but, considering the script he's working from, it's no wonder. Something to Talk About is weary -- every ounce of energy and originality has long since been wrung out of this formula, and the "twist" of having the leads already married doesn't do much to spice up things. Ultimately, this "something" turns out to be nothing much at all.

The script doesn't do a great job with either the spiritual or the physical trek, but the spectacular action sequences occur with enough regularity that strong writing isn't necessary to keep Waterworld afloat.

The Net starts off strong but finishes weak, and if not for the presence of actress Sandra Bullock, who graces nearly every scene, this movie might have been a snoozer.

This movie is keen, clever, and -- most important of all -- a nonstop exercise in hilarity.

The cinematic equivalent of cotton candy: certainly not unpleasant, but not especially satisfying despite the sweet taste.

The movie teaches lessons without preaching, and focuses on the magic of relationships rather than that of special effects. This leads to a production as affecting for adults as for children.

I have come to the conclusion that it's impossible for a Steven Segal movie to be anything better than mediocre, and this particular travesty may be his worst yet. The title Under Siege is supposed to represent the situation faced by Segal's character, but it's equally appropriate in describing the experience of the poor viewer who sits through this film.

Director Roger Donaldson has a lot of fun with his premise. The top-notch special effects, which use a lot of seamless computer animation, make the climax look very nice. The rest of the film is essentially one long chase sequence with a couple of nude scenes and maulings added to liven up the proceedings. No matter what genre you identify Species as, it's not top of the line, but there's also quite a bit of room beneath it.

Sean Connery is perfect for the King Arthur role. Too bad he isn't given more to do than stand around looking regal.

Perhaps the most impressive feat of this film is sustaining white-knuckle tension even though the chain of events is well-known.

Taking advantage of the studio's breathtakingly intricate animation, directors Mike Gabriel and Eric Goldberg have breathed vitality into this, the fifth "new wave" Disney animated picture.

Safe does not succeed at everything it attempts. The film is overlong and there are times when more aggressive editing might have improved the pace. However, despite certain dramatic shortcomings, Safe is an insightful and darkly comical social commentary.

It's lighter, brighter, funnier, faster-paced, and a whole lot more colorful than before.

A charming piece of cinema that takes several comfortable formulas and expands upon them in ingenious and emotionally-satisfying ways.

Each conversation has at least one memorable line, and it's always delivered in such a casual manner that it blends right in.