The story, although straightforward, is by no means simple, and there's enough in The Secret of Roan Inish to delight both children and adults.

Before Sunrise speaks as much to the mind as to the heart, and much of what it says is likely to strike a responsive chord -- a rare and special accomplishment for any motion picture.

The latest offering from Edward Zwick, the director of "Glory," is the kind of movie that doesn't require much effort to surrender to and enjoy.

Nobody's Fool is about as sublime a motion picture as is likely to come out of Hollywood. With a structure that contravenes the norm, this film concentrates on character first, letting the plot fall naturally into place. Situations are forced on neither the film's inhabitants nor on those in the audience.

Good entertainment stretched to three times its natural length is rarely three times better, but bad entertainment dragged out that long will typically be three times worse. In the case of Demon Knight -- which probably doesn't have ten minutes of worthwhile material -- such a statement could be regarded as infinitely kind.

It's an unforgettable portrait of human anguish and the price that any society must pay when its best intentions go awry.

When this movie is quiet and introspective, it speaks with a clear voice. That insight gets muddled, however, the more forceful Singleton becomes.

The Madness of King George is much more than a simple study of one man's descent into insanity. With a style that's more tongue-in-cheek than melodramatic, the film is always witty and occasionally satirical. The characterizations are flawless (as well as historically accurate), and the political wrangling of the Tories and Whigs (led by PM Pitt and Charles Fox, respectively) provide a deliciously complex backdrop.

Ready to Wear doesn't have enough substance to justify its length, nor does it possess enough raw humor to leaven the flat spots. The jokes are inconsistently funny, with some being worth giggles, some eliciting hearty chuckles, and some prompting little more than shrugs.

Beautifully photographed and tightly paced with a spate of solid performances, this latest Kipling-inspired motion picture is an enjoyable and exuberant film-going experience.

Polanski abandons all attempts at subtlety. The resulting production ends up far too heavy-handed to be considered powerful drama.

It is difficult to deny Nell's intelligence and sensitivity. We approach this story with the same fascination that Nell faces each day, seeing, if only for a short time, how different the world -- and people -- can be.

The only thing of real importance in A Man of No Importance is Albert Finney's performance.

Mixed Nuts makes a point of stating that there's magic at Christmas. After seeing this movie, I'm a believer. After all, it's virtually impossible to come up with an alternate explanation of how something this awful could make it to theaters across the nation.

This tale of four independent sisters of differing temperaments is undeniably melodramatic, but it's very good melodrama, with an accumulation of vitality and charm that elevates the movie to an unexpectedly high level.

At its best, Dumb and Dumber is like an Ernest movie with a scatological bent.

Dramatically, Disclosure isn't especially potent, but it isn't drama that Crichton and Levinson are striving for. On its own terms -- the fear of lost security that many thrillers prey upon -- Disclosure works, and that's all that anyone can reasionably ask from this kind of motion picture.

Shelton took a chance with this film. Given a less talented performer, Cobb could have been an awkward, over-the-top melodrama. As it is, however, the movie works much as Mrs. Parker and the Vicious Circle does -- as an unobstructed view of human degradation and the damage it wreaks.

Mrs. Parker and the Vicious Circle is a top-notch movie. Everything is in place -- a striking lead performance, solid supporting players, a well-written script, and, above all, expert direction to merge the ingredients.

Red, the final chapter of Krzysztof Kieslowski's Three Colors trilogy, is a subtle masterpiece. With its satisfying exploration of such complex and diverse themes as destiny and platonic love, Red is not only a self-contained motion picture, but a fitting conclusion to the series.

The new Ivan Reitman/Arnold Schwarzenegger comedy is a one-joke affair, and it takes surprisingly little time for the potential humor in the situation to wear thin.

With some surprisingly strong character interaction, there's a lot to like about this movie, at least for those willing to look beyond all the bloodshed.

Generations spends its running length searching for, and never completely finding, its niche.

Despite its problems, The Swan Princess is actually one of the better non- Disney animated productions to come along in a while. While the creators of Beauty and the Beast, Aladdin, The Lion King, and Pocahontas need not feel threatened, parents looking for something different to take their offspring to might find something worthwhile here.

Revealed in unforgettable fashion by a capable director, the events that unfold in this film are not easily forgotten.

When Interview with the Vampire works, it's as compelling and engrossing a piece of entertainment as is available on film today. When it falters, the weaknesses seem magnified.

The Santa Clause isn't an unmitigated disaster, but it's also a whole lot less impressive than it could be.

Oleanna probes deeply into some of the darker facets of human interaction, and anything with this keen an edge will cause discomfort. Three out of four "characteristic" movie-goers are likely to view this as a bad movie (too slow, too pedantic, too stilted). Oleanna, however, is no more intended for that crowd than are they for it. This film has been made for those willing to look beneath the surface to see a taut, intellectual sparring match where there is no absolute truth. For such an audience, this picture will leave an indelible imprint.