A movie as slight as Fluke shouldn't be expected to draw gasps and cooing at the drop of a plot twist. [02 Jun 1995, p.9]

Casper often resembles a blueprint for the next Universal theme park ride, but it serves well as the summer's first family treat. This movie should make children happy, at least for another month, until Disney unleashes its Pocahontas punch. [26 May 1995, p.10]

Director Barbet Schroeder (Single White Female) has the proper foreboding drive in his technique to make every minute of his movie hum with fascinating dread. [21 Apr 1995, p.2B]

What Bay has really done is slice Beverly Hills Cop in two; Eddie Murphy's sandpaper personality in Lawrence and his silky style in Smith. [7 April 1995, p.7]

Every decade needs a nonsensical sci-fi space oddity - a Barbarella or Buckaroo Banzai - to keep the underground element amused. Tank Girl should keep the Internet clicking for a while, with its imposing strangeness and violent pop-apocalyptic action. [1 Apr 1995, p.2B]

Major Payne is tasteless throughout and rarely funny. Mostly it's embarrassing. And the profanities littered copiously through the film are an upsetting clash with the level of humor, which seems directed to young teens. [24 March 1995, p.2B]

Egoyan's self-importance mars every frame of his film. [24 Mar 1995, p.9]

Outbreak is an expert what-if nightmare, albeit occasionally tempered by conventional distractions. [10 Mar 1995, p.2B]

Like The Flintstones and The Beverly Hillbillies before it, The Brady Bunch Movie is an amusing facsimile of a pop culture archetype. If only the script had been given such attention to detail. [17 Feb 1995, p.3]

Brill's film isn't as offensive as it could be, nor as funny as it should be. Heavyweights is a case of no pain, and no gain, either. [19 Feb 1995, p.16C]

Sean Connery's familiar, imposing manner and the seething stares of Laurence Fishburne generate a lot of tension, but it is the mercurial hamminess of Ed Harris as a death-row madman that gives the film the goosing it needs. [17 Feb 1995, p.10C]

Nobody's Fool is an actors' showcase and a dramatist's doodle. But what an actor. Newman's eloquent, understated portrayal of a jovial heel ranks among his greatest. [13 Jan 1995, p.8]

To paraphrase Joe Bob: Heads roll, arms roll, a face gets squashed like an overripe papaya, about 15 gallons of blood, several gratuitous shots of nekkid women, and plenty of beasts - including the Cryptkeeper, who bookends the flick with his usual pun-laden flair. Joe Bob might say check it out, then feel sorry he did. [13 Jan 1995, p.8C]

Ready to Wear is a comedy - one of Altman's funniest - but it's the humor of humiliation, of the characters and the industry. [23 Dec 1994, p.16]

Even when I.Q. turns to mush, it's appealing mush. Robbins has never been so downright adorable on screen; befuddlement becomes him. Ryan looks a few years too old for such an ingenue role, but few female actors have such an immediate bond with an audience. [25 Dec 1994, p.14C]

The Jungle Book is rich with stunning sights and impossibly lush features. [23 Dec 1994, p.16]

Foster's manipulation of Nell's strange language holds us in rapt attention and empathy until Apted falsely gooses his film. It's an excellent performance slightly cheapened by the filmmaker's dramatic framing. [23 Dec 1994, p.17]

One of Street Fighter's chief problems is that it is based on a game that is 100 percent hand-to-hand combat, yet that element is almost completely ignored until the film's final third - which, admittedly, is a huge improvement of what preceded. [24 Dec 1994, p.10C]

Richie Rich is a movie fashioned with dollars, not sense. [21 Dec 1994, p.8C]

Trapped in Paradise merely settles for being a genial diversion from the holiday shopping crowds. [02 Dec 1994, p.6]

Not as funny as you might expect but, like Reitman's political comedy Dave, it has a genuine affection for its institutional subject. [23 Nov 1994, p.8C]

Paramount prefers to think of Star Trek: Generations as the first of a new film series, rather than the seventh act of the old, but prior knowledge of the saga definitely is a necessity. It's a movie filled with punchlines that depend on the audience knowing the set-ups. [18 Nov. 1994, p.3]

What is missing is some balance; Pauline and Juliet are portrayed from their own idealized point-of-view, while parents and others who object to them are as silly, pompous and uncaring as the girls obviously perceived. Crime doesn't pay in Heavenly Creatures, but it's rationalized in expert, provocative fashion. [6 Jan 1995, p.7]

Kenneth Branagh's version of Mary Shelley's Frankenstein reverts to the creature's roots to become the most faithful adaptation ever of the horror classic. [04 Nov 1994, p.10]

If this is the best filmmakers can do with the video game market, we'll sit the rest out until the planned film version of Doom. [04 Nov 1994, p.7]

Stargate is a time-warped implosion of baffling space mysticism, a costume budget gone mad, and too much sand for any movie short of Lawrence of Arabia. It's pretty, vacant and pointless; an interactive computer game with which we just don't feel like getting involved. [28 Oct 1994, p.10C]

Love Affair is a second honeymoon disguised as a movie project. [21 Oct 1994, p.7]

Hoop Dreams is what sportwriters would call "the total package:" intimate and illuminating in its depiction of two Chicago high-school basketball players and their goals, while never allowing an audience to forget that these boys and the families who support their struggles are part of the American fabric which hasn't received its due. [13Jan 1995, p.6]