Dave is proof that predictable movies with only a marginally original premise can still be tremendous fun.

Those expecting Dragon to offer a probing examination of Bruce Lee's life will be disappointed. This is not a "tell all" expose or a hard-hitting biography. Instead, it's a celebration of the first international Chinese-American movie star. As such, the film accomplishes what it set out to do while keeping its audience involved for its full running time.

A passable motion picture that features several memorable scenes. It's not a masterpiece, but neither is it a waste of time.

Tokyo Decadence will appeal to only a select few. The movie is rated NC-17 for a reason -- it doesn't pull any punches, and there's virtually nothing it won't risk putting on screen. Those who take a chance on this film may be shocked by what it offers, but, regardless of their opinion of the story, the overall experience won't soon be forgotten.

People who are addicted to romantic comedies will find something to like about this movie, with its theme of fate brining two unhappy people together. More cynical viewers will point out that nothing in this film makes enough sense to warrant such a lofty interpretation. For the most part, I agree with the latter group. The Night We Never Met is best remembered as the movie we never attended.

Indian Summer is a mish-mash of mediocre formulas. Although there are several good comedy sequences, this uneven humor is unable to camouflage the essential weakness of the storyline. The script, which relies heavily on conflict, doesn't present us with any believable characters. Reunion stories have been done so often that for one to make an impression, it needs a new angle (Peter's Friends, Kenneth Branagh's recent film, fell into the same trap). Indian Summer doesn't even attempt to strike out towards new ground. It finds a comfortable, cliche-filled groove and sits there.

Simply put, Boiling Point functions as an apt definition of cinematic mediocrity, with little to laud or despise. It's the kind of motion picture you can yawn your way through without getting overly worked up about the money you lost paying the price of admission.

The film is well-paced and expertly edited, allowing scenes to flow naturally into one another.

Once the setup is over, however, Indecent Proposal starts to fall apart, with the implausibilities and contrivances getting worse with every passing minute.

There are those who will see this as a silly fantasy, but they have either missed or chosen not to feel the magic woven by The Sandlot. Predictable as the movie is, the Field of Dreams quality is not the only thing to like about The Sandlot.

While the material forming the basis for The Crush can't make any claims of originality, there's certainly enough there to craft a decent film around. With a challenging story, a real script, and actors willing to take a few chances, The Crush could have been enjoyable. Essentially, all that would have been necessary for a success is a complete scrapping of the film that was actually produced. Even lovers of formula thrillers will find this picture hard to swallow.

I'm not convinced there was a compelling reason to remake La Femme Nikita. The original stands well on its own, and, having been made only a few years ago, it's definitely not dated. Nevertheless, mainstream American audiences hate subtitles, so this won't be the last foreign language film to receive this treatment. In terms of style and originality, Point of No Return can't compare to its inspiration, but, for a Hollywood thriller, it's more than adequate.

As common as the plot might be, the manner in which the film approaches at the subject is decidedly different. Leslie Harris brings a gritty perspective to this story that illustrates it isn't just boys who suffer in the hood.

Fire in the Sky is grim. I'm not sure why director Robert Lieberman chose to fashion his movie like this, but the result is distinctly unpleasant -- dark, gloomy settings with harshly disagreeable characters and no sign of anything remotely resembling comic relief.

Taken as a whole, Mad Dog and Glory is a disappointingly mixed bag. What's on the screen is passably diverting, but I often felt as if I was seeing only half the movie. With this intriguing premise and cast, the film should have offered more complete entertainment.

Swing Kids has a multitude of problems, the most glaring of which is its loose treatment of history and the Nazis.

Unlike most comedies, the jokes succeed more often than they fail, except perhaps during the concluding fifteen minutes, when the movie runs out of gas.

A gripping, tautly-paced action flick that outdoes most of Hollywood's similar output. This is clear evidence that film quality often has little to do with a production's budget.

Sure, the viewer who wants to see a tightly-paced thriller with gun-play and emotionally-satisfying moments won't be disappointed, but there is a little more here than simple escapism. Although it takes a number of wrong turns, Falling Down still has the power to disturb.

No matter what your opinion is of the movie, you're unlikely to be bored.

This movie has all the qualities necessary to be a crowd-pleaser: likable characters, charismatic performers, a strong, capably-executed premise, and lots of laughs.

The movie is funny, energetic, and enjoyable -- the perfect film for a night or an afternoon out, regardless of what mood you're in. While the plot and characters don't boast any special depth, there's enough freshness to hold just about anyone's interest.

Unless you're a fan of Slater or Tomei, or hopelessly addicted to sappy, ineptly-handled love stories, there's no reason whatsoever to subject yourself to this movie.

Basically, this film is stale -- as unappetizing as week-old bread. With much better fare of this sort available on video (Airplane, The Naked Gun, etc.), renting a tape will be more satisfying, not to mention cost-effective. Loaded Weapon 1 is good for a few laughs, but there's no compelling reason to spend $5+ to see such a feeble feature-length comedy.

With respect to Martin Guerre, Sommersby can genuinely be viewed as an homage -- the spirit of the original remains intact, which is perhaps the most satisfying aspect of this production.

Action fans probably won't be offended, provided they're not expecting Berenger to be America's answer to James Bond. There are occasions when Sniper shows flashes of promise, although most of these are short-lived. The film is capable of providing a one-hundred minute diversion for anyone who has nothing better to do. The potential is here for something much better, but, unfortunately, Sniper shoots itself in the foot.

Aspen Extreme is a predictable, pointless melodrama -- a kind of Top Gun in the snow. Ski enthusiasts might be tempted to see the film based on subject matter alone, but, unless they're undiscriminating about the quality of their movies, I would caution against it. Even as vicarious entertainment, Aspen Extreme is feeble.

Despite numerous faults, Damage is still a worthwhile motion picture. It presents a stark depiction of a man on the edge who is driven to act by needs he can neither understand nor control, and the pain that such an obsession can cause. There's a lot here, just not as much as there could have been.