INTERVISTA play as an enjoyable, lightweight entertainment, filled with the usual Felliniesque characters, faces, and situations.

March has the requisite child-woman quality and evinces some sly humor but she, too, is stymied by the schematic screenplay. She is far more convincing as an emblem of nostalgic, adolescent eroticism than as one of France's most distinguished future writers. Small wonder, then, that Duras herself has publicly disowned this adaptation.

A cliched throwback to the early 1980s slasher genre, DR. GIGGLES transplants the heart of a NIGHTMARE ON ELM STREET sequel--wisecracking killer--into the body of HALLOWEEN--psycho killer returns to his hometown to slash anew--but lacks the wit of the former or the tension of the latter.

The acting here is first-rate, with Madsen turning in a forceful performance as the confused but resilient heroine. And special mention must be made of Philip Glass's superlative score, which combines synthesizers, piano, and chorus to haunting effect.

CONSENTING ADULTS shows that the urban thriller genre spawned by FATAL ATTRACTION has run out of gas. Viewers who have seen such films as THE HAND THAT ROCKS THE CRADLE, SINGLE WHITE FEMALE and UNLAWFUL ENTRY are unlikely to enjoy this derivative effort; it's the same paranoid mayhem--and not as much fun.

Even the Critters seem to be going through the motions, which hopefully marks the end of this clearly exhausted series.

Even set against the Sierra Club beauty of Redford's Montana, it's hard to get excited by fisherman casting their lines into the water.

During its opening scenes, Under Siege threatens to achieve something like Die Hard's blend of wit, ingenuity and action, with Jones and Busey making highly entertaining, creepy-funny villains. Once the stolid Seagal takes over, however, we settle into a predictable high-tech groove of explosions, gunplay and gore.

A lumbering journey that conveys none of the joy or mystery of exploration. Star Gerard Depardieu's unintelligible line readings and director Ridley Scott's murky mise-en-scene make it a hard film to hear and see, let alone like.

A flawed though compelling eye-opener.

THE MIGHTY DUCKS is harmless enough, but its schematic retread of a screenplay and its lethargic acting detracts from the unassuming, passable entertainment it might have been.

Aside from a few moments of comedy between Davis and Chase (in a relationship lifted almost unaltered from THE FRONT PAGE), HERO is an embarrassment best forgotten by everyone involved.

The film's look and themes also recall those of Howard Hawks. Avoiding artful, fussy compositions, Tarantino constructs much of Reservoir Dogs from simple medium-shot long takes.

A searing showcase for a remarkable ensemble cast.

Parillaud makes for a sympathetic and convincing vampire protagonist, with her appealing accent lending Marie an exoticism she might have lacked with an American actress. Given the apparent intention to make this a strong woman's role, though, it's a shame that she becomes a sex object in a few key moments.

As these films go, School Ties is more simplistic and has its dice more loaded than usual.

Like virtually every Disney comedy released for the last several years, Captain Ron starts well but gets soggier as it goes along.

Although inconsistent in tone, it is an emotionally wrenching account of life on the mean streets of Los Angeles.

SINGLES is funny and well-observed and, most notably, plays to its audience's intelligence rather than its libido.

The acting is flawless throughout, with top honors going to Davis, who blazes through the picture with devastating intensity and honesty. It's an urgent, unsettling performance, perfectly complemented by Pollack, who projects quiet ease and authenticity in this, his first major role.

It's all passably entertaining, but there's precious little that will stay with you; like so many contemporary movies, this one self-destructs five seconds after you leave the theater.

WHERE THE DAY TAKES YOU has a consistently engaging narrative that resonates with accuracy and honesty.

Brother's Keeper offers a rich tapestry of rural American life in both light and dark shades.

A smart, funny pseudo-documentary.

While Lynch ladles on the random weirdness around the edges, it is Lee who keeps the film centered, with a harrowing but poignantly sympathetic portrait of a woman's descent into horror and madness.

For all its many flaws, the original PET SEMATARY at least maintained a fidelity to its source novel; this one not only ignores the rules set up by the first movie but manages to contradict its own internal and dramatic logic as well.

More admirable as a sheer technical feat of filmmaking than as a sustained dramatic narrative. It still makes worthwhile viewing.

Johnny Suede's stylish, dreamlike mood and abstract dialogue cannot compensate for its unsatisfying storyline and characters.