Beyond the skillful lensing of snow-covered mountain locations and interesting sports photography, SKI SCHOOL is a slow-moving picture which doesn't have much to offer. David Mitchell has written a screenplay which leaves his characters underdeveloped and therefore hard to identify or sympathize with. And the female characters, not unsurprisingly, are there only as bimbos or sexual objects.

By enlisting jingoism and reducing an entire culture to caricature, Not Without My Daughter defeats any progressive point it may have intended to make.

Directed by Steve Miner, who got his start working on the Friday the 13th films, Warlock aspires to more than many genre movies, though it actually achieves very little.

One of the most frustrating films of 1990, an epic without epic scope, a muted, strained, unnatural affair that never comes into dramatic focus.

Kindergarten Cop is actually fairly entertaining, buoyed by Schwarzenegger's self-deprecating charm and easy chemistry with his capable costar, Pamela Reed, and the hammiest bunch of tykes ever assembled for a movie.

Well-acted, likably small-scale, full of good intentions, but hardly a corker.

It's a great-looking film with a great-looking cast, it had some of Hollywood's top talent behind the cameras, and a budget of more than $45 million, but it lacks bite and conviction and utterly failed to strike a single spark, much less catch fire.

A finely crafted and beautifully acted adaptation of John Le Carre's glasnost-era spy thriller that never quite gets as gripping as it should.

The script pushes all the expected buttons at all the expected moments, leaving you wondering what could have been achieved with a more rigorous, unsentimental approach.

Sadly, the film had all the elements to be a very captivating experience, but it fails to bring those elements together into a strong whole.

The theme--that just beyond the edge of the perfectly normal lies the truly bizarre--is realized with intelligence and visual flair.

The film offers some disturbingly misogynist elements as well as a healthy dose of crushing violence. Still, those quibbles aside, this is a fun movie and a must-see for Eastwood fans.

Westlake's screenplay has the right combination of vivid characters, mordant wit and avaricious savagery which distinguishes the best noir.

A virtuoso update. Gerard Depardieu's Cyrano is nothing short of magnificent.

In the Kill the Bitch tradition of FATAL ATTRACTION, this adaptation of Stephen King's misogynist fable about a serious (male) author trapped by his own frivolous (female) commercial creation isn't quite satisfying either as a flat-out horror screamer or a psychological thriller.

Unfortunately, EATING lacks a main plot or any truly involving developments, and the film, after a promising beginning, loses steam.

What fills the screen is not heightened melodrama, but a series of stark, sometimes painfully poignant vignettes that reflect the oppressive stasis of their lives.

The film's energy and style are enough to recommend it. Lovers of the original should be pleased with this effort, as should most fans of the genre.

While it's not a top-drawer romantic comedy, this is certainly a worthy sequel to Three Men and a Baby.

For the most part, the "Rocky" pictures have been outstanding entertainments, beautifully crafted and executed, and Rocky V is an important and worthwhile addition to the series.

The first half of Home Alone features the sugar-coated sentimentality that can usually be found in a Hughes film, while the second half is full of unanticipated sadism.

The film suffers from some action and plotting that is questionable in a children's film. The villain is far too malignant, the young vigilante hero seems to be a kiddie Rambo, and some of the action is quite violent, if not tasteless.

A western for people who are completely ignorant about the genre. Costner's direction is barely competent and frequently clumsy.

The Kemps make THE KRAYS worth watching. And they're supported by a first-rate cast of female monsters and victims, and some compelling seedy bits by strong character actors.

This sequel to the surprise 1988 hit is a slicker and ultimately more disturbing film than the first.

Truly frightening and visually unique, this messy, challenging film is anchored by Tim Robbins' remarkable performance.

When Prince really performs on screen, he's terrific. If he'd take some acting lessons and team with a competent scriptwriter and director, he might be capable of creating a first-rate musical.

The film had the calculated feel of a movie made simply because the title was guaranteed to pull in audiences on opening weekend. Sadly, it's the kind of effort that gives horror films a bad name.