Grisham's characters are rudimentary, and both Roberts and Washington are stiff and over-earnest.

Director Steven Spielberg has achieved something close to the impossible--a morally serious, aesthetically stunning historical epic that is nonetheless readily accessible to a mass audience.

The two stars have their comedy routine down to perfection, though Carvey, in a series of unflattering closeups, looks old enough to play Garth's father.

A hastily assembled follow-up to the surprise smash hit of summer 1992, SISTER ACT 2 is a slapdash affair, with paper-thin plotting and characters more or less redeemed by some winning musical sequences.

In the end, GERONIMO is a welcome contribution to a revitalized genre, filled with interesting representations of both the Apache and the pursuing army.

Witty, wordy, well-acted satire of contemporary class and race relations, based on John Guare's acclaimed stage play.

Though the film has its share of brisk one-liners and contrived situations played for their obvious comic potential, its appealing mix of sweetness and grit, and ultimate reliance on character to carry the material, make it a pleasant surprise.

Daniel is so hopelessly immature, and played with such puppy-dog overkill by Williams, that it's impossible to root for him--until you meet his wife, whom Sally Field makes even less appealing.

In a perfect world, screenwriters would be forbidden from using cute pre-teens to make up for creaky plots; Clint Eastwood would stop churning out his patented over-the-hill-but-still-tough routine; and there would be an injunction against Kevin Costner doing death scenes, especially ones as long and meandering as a cross-Texas road trip.

Like the first ADDAMS FAMILY, this continuation of the macabre clan's misadventures is really just a string of sight gags and one-liners. The good news is that the one-liners are much funnier than the first time, mainly thanks to the increased input of screenwriter Paul Rudnick.

With even less plot and cheaper production values than usual, this is comedy for catatonics that will bore even fans of past entries in the series.

Al Pacino gives an urgent, bravura performance as the title character.

The film's greatest incidental pleasures are its supporting players. From Curry, who plays the loathsome Richelieu with his usual gusto, to De Mornay, who clearly relishes her role as one of history's great femmes fatales, to the dryly menacing Wincott and the luminous Anwar and Delpy, there's always someone or something of interest to watch in this passably entertaining remake.

Though it offers a host of fine performances in a smoothly crafted, adult drama of unfulfilled love, it lacks the cumulative dramatic impact of the team's best work.

Though the story is tired, most of ROBOCOP 3's action sequences and special effects are imaginative and effective, and the gruesomeness of the first two films has been toned down in a commercially wise attempt to make it more accessible to the younger audiences who love Robocop.

It's often a pleasant diversion, and much more entertaining than LOOK WHO'S TALKING 2, which over-extended the talking baby tricks.

There are no grand Hollywood moments in Ruby in Paradise, a drama about one intelligent woman finding herself, just a series of quiet scenes and personal epiphanies that add up to a satisfying independent film.

Unrelenting and predictable, this pretentious collaboration between a music video director and the writer of "Revenge of the Nerds" covers all of the bases now required in a road movie thriller, to precious little dramatic effect.

Campion's eye is extraordinary. She searches out the detail that makes the image, and the image that tells the story more eloquently than words ever could.

The third entry in this uneven franchise is a straightforward, gruesome, and relatively successful exercise in disturbing frights.

The cast tries but the laughs simply aren't there, despite the filmmakers' apparent conviction that homages plus penis jokes equals wit.

The first American feature from Italian cult director Dario Argento, TRAUMA is not as flamboyant and extreme as his previous films but still manages to deliver the goods.

Burton seems to waver between rooting for the scary guys and the cuddly ones, and his indecision makes it hard for us to respond on an emotional level. The result, though refreshingly different from mainstream animated fare, is ultimately more trick than treat.

Without understanding his motives, it becomes easy to lose patience with a character so obsessively devoted to a single, largely meaningless goal. Ultimately, RUDY is an inconsequential, if moving, contribution to the sports-movie genre.

In this celebratory documentary, Agnes Varda, the wife of Jacques Demy, brings some of the players and extras together back in Rochefort for some reminiscences. In keeping with the thoroughly romantic nature of the musical, she also tells the story of how Les Demoiselles de Rochefort's extras found romance and had their lives changed by participating in its making.

If it works at all, THE BEVERLY HILLBILLIES functions as a curio for a tube-fed generation nostalgic for the good old days when TV was still a safe place to hide.

An exciting, although pointless, race through the dark and menacing streets of Chicago's West Side.

The pleasant surprise about Demolition Man is that both the script, and Stallone, are funny; the film blends big-budget action and tongue-in-cheek humor in the way that "last action hero" tried, and failed, to do.