Audiences expecting more Bullock or more weighty import from A Time to Kill will have to adjust expectations and settle for the kick of a good yarn.

By the fourth clone, played as a babbling simpleton, Keaton has exhausted the gimmick and the audience. I’d trade a dozen Dougs for one Beetlejuice.

Eddie Murphy is funny again. Sadly, he lacks the guts to follow through on the cathartic self-satire that gives the film its distinction.

The performances are uncommonly fine...Lone Star isn't built to ride trends. It's built to last.

The problem for Gary Trousdale and Kirk Wise, who also co-directed Beauty and the Beast, is turning a tale of violent love and death into a family film with a happy ending.

In contrasting the sexuality and rebellion of Lucy's generation with his own, Bertolucci clearly yearns to rekindle his creative spirit.

Carrey knocks himself out trying to make The Cable Guy different, then neglects the quiet, telling moments that would make it real.

It's a popcorn-movie deluxe.

Zane, a good actor in the right circumstances (Orlando, Dead Calm), is trapped by screenwriter Jeffrey Boam (Indiana Jones and the Last Crusade) and Australian director Simon Wincer (Free Willy), who don’t give him anything to act.

Immensely entertaining and provocative.

In Washington's haunted eyes, in the stunning cinematography of Roger Deakins (Fargo) that plunges into the mad flare of combat, in the plot that deftly turns a whodunit into a meditation on character and in Zwick's persistent questioning of authority, Courage Under Fire honors its subject and its audience.

You'd get more of a jolt from Angela Lansbury on "Murder, She Wrote" and more intellectual stimulation from a cozy game of Clue.

Girl 6 is shameless stuff -- pompous, sentimental and attitudinizing. To swat the Spikeman with his own symbol, the film feels like he phoned it in.

Timely and smartly entertaining.

What saves director Ted Demme's comic talkfest from sitcom slickness is a quirky script by Scott Rosenberg and an appealing cast.

Broken Arrow delivers the hippest action fun around. Travolta's "Dr. Strangelove" exit will blow you away. Ditto the movie.

Amid the action heroics of White Squall, Bridges creates a character of consequence.

Forrest Gump lives in spirit in this overbearing tear-jerker that takes two and a half hours to cover three baby-boom decades in an effort to prove that nice guys finish first, at least in the hearts of academy voters.

It’s early in the new year, but I doubt that 1996 will produce a film more unthinkingly insidious than Eye for an Eye.

The saddest element of Two if by Sea is watching Bullock get dragged down in the drivel.

Gilliam, along with the gifted cinematographer Roger Pratt and production designer Jeffrey Beecroft, fashions a disturbing and dazzling lost world.

It's gripping psychodrama -- just don't confuse Nixon with history. The revelation that comes with unbiased research remains a Stone's throw away.

I am really sick of people going easy on this dud remake...Instead of the luminous Audrey Hepburn as Sabrina, the awkward chauffeur's daughter who goes to Paris and comes back a swan, we have Julia Ormond, a decent actress without an ounce of the movie-star glamour the part demands. Instead of Humphrey Bogart as Linus, the elder boss-man brother on the Long Island, N.Y., estate where Sabrina's father works, we have Harrison Ford at his most dour.

It's a perversely comic movie ride into the wild blue of crime and punishment.

Whether or not Casino meets your expectations, it delivers the rush you only get from an audacious gamble.

It's a revamped Cinderella story with power as the aphrodisiac, and Douglas and Bening play it to the classy hilt. The courtship scenes in the film's lighter, more deft first half have the bounce of a moonstruck fable.

An uneven blend of mirth and malice.

Foster keeps the party hopping, although more dark humor would have helped before she winds it down with sentiment and bromides.