As a coming-of-age melodrama and high seas adventure, White Squall is fair.

The movie takes on a somber, fitful atmosphere of straining epic proportions. But it strays into an episodic bog that leaves it gasping for dramatic life.

Black Sheep is a little comedy that succeeds in its modest aim to provide 87 minutes of harmless diversion. If you have nothing to do -- and I mean absolutely nothing -- Black Sheep, which opens today, is a must-see.

Quentin Tarantino and Robert Rodriguez had their fun with From Dusk Till Dawn, and now they need to stay away from each other. For their own good. Forever.

Mr. Holland's Opus is a glowing tribute to the unsung heroics of those rare, gifted teachers who make a difference in life. Richard Dreyfuss, in a performance that both touches and inspires, plays music teacher Glenn Holland.

Shore possesses only two talents -- his ability to assume yoga-like positions and fondle his own behind, and his mystifying knack for getting starring roles in bad movies.

Dunston Checks In is a fast- moving, well-done farce that both kids and adults will enjoy.

The cheesiness has increased, but it's surprising how clever low-budget film makers can be when they throw every nut and bolt within reach into a film, and stir wildly with computer-generated images. [15 Jan 1996, p.E6]

For those who have seen the previous 'hood films, Don't Be a Menace isn't just funny. It's a relief. Things might be bad, the movie suggests, but they're not so bad you can't laugh.

Well acted, well crafted and might have been a truly searing drama if it weren't so simplistic, pat and predictable.

Two If by Sea should have been titled "Two at Sea." It's adrift. Stars Sandra Bullock and Denis Leary have no chemistry together, and a perfectly good story is wasted on a really bad script.

A grandiose cinematic invention, cleverly turning the present-day urban American world on its ear.

Acting rarely gets better than this.

A good rule of thumb for Richard III is that if it's not fun, somebody's doing something wrong. Nothing's wrong here. Some of the unexpected visual touches are brilliant, others simply entertaining. But the picture never stops coming at you.

It's great to see cherished, longtime stars in big roles to which they can bring so much spontaneity and finesse; you wish only that this movie were sturdier and had aimed higher. Judging from the bloopers that unreel during Grumpier Old Men's end credits, the cast had lots of fun making this movie--more fun, it would seem, than it is to watch.

It's a swashbuckling extravaganza, but Davis is not convincing. And before anyone objects, it's not because she's a woman. Get out already! This is the '90s, and women can do anything. But they can't escape from a lousy movie any better than a man can.

It's a strong film, but apart from its stunning images, it doesn't linger in your mind's eye the way you would like it to.

There's not a single moment here in which Nixon is admirable, decisive or appealing. Nixon doesn't work as a drama, but with a little push it might have been a great comedy.

It's a monster of a movie, and it gets unwieldy.

As a movie, it's far from compelling. As a thrill ride, though, it's a rampaging special effects and animatronics extravaganza that will make small children cringe behind their seats.

Not every moment of the film is as potent as the book (which is noted for passages of passion and impassioned eloquence), but Cry, the Beloved Country overcomes its own limitations to become a glorious tribute to the workings of a faith that does not blind but opens up the human spirit.

Children, and adults with adventurous taste in movies, will find this among the most eye-popping big-screen experiences in ages.

Julia Ormond, the British beauty from "Legends of the Fall," has enough class and intelligence to carry it off. She's not a terrific actress, but her cool, patrician looks and her gorgeous voice -- more similar to Grace Kelly's than Hepburn's -- are well matched to the part of a gawky tomboy-turned-Cinderella.

It's an exuberant, well- crafted film that gets the audience involved on a gut level even before the opening credits are over.

It's still a good [movie], with its self-contained world of concert arenas and smoky clubs and sad, weird people who linger in the mind.

Father of the Bride Part II is too long, completely predictable and unabashedly immersed in a posh world that is totally out of reach of most people. It's a comfort to see that riches don't keep some guys from being dithering fools when it comes to life's fundamentals.

Has that title going for it, which might annoy or provoke you. It makes me suspicious. It's the kind of flashy, meaningless title that's usually given to drab, pointless films.

In the early going "Wild Bill" looks interesting -- an audacious wallow in violence and Western legend. Then 20 minutes in, writer-director Walter Hill puts his cards on the table. It's a dead man's hand.