Think "Animal Farm" redone as Ant Farm. [2 October 1998, p. 11E]

The young Pigeon turks who no doubt think they've made a hip black comedy should be forced to see it in a theater of non-sycophants, where only an occasional exasperated exhale signifies the audience isn't dead yet. [25 Sept 1998]

There's a familiar feeling to the movie even beyond its twinkle-eyed martial arts melees.

When we first see Meryl Streep's happy homemaker in One True Thing, she's a domestic dinosaur circa late '80s, a regular mommy monster. [18 September 1998, p.3E]

The movie grows on you, lingers in the mind and may pick up a cult. Take away Heat and Dust, Howards End and The Remains of the Day, and it's as satisfying as any movie the filmmaking team's ever made. [18 Sep 1998, Pg.03.E]

The movie, lacking snap and sarcasm, fails to convey the book's tone. [16 Sep 1998, p.3D]

Most novel is Rounders' message that the real sin isn't giving into vice but denying your God-given talents and not risking it all.

A worthy companion to Towne's underrated 1982 portrait of female runners (Personal Best), Limits may face a similar challenge attracting mass moviegoers, which was certainly the case of the barely released Prefontaine. [11 Sep 1998]

Director Stephen Norrington is more keen on finding new ways to explode the fiends... than developing a credible story. So the movie flits from one gore-laden assault to another with little suspense.

Snake Eyes sports some of the most breathtaking filmmaking of De Palma's career -- and Nicolas Cage is the one actor who cannot be upstaged by it. [18 September 1998, p. 11E]

Sports-satire misfire. [31 July 1998, p. 2E]

Too much talk, not enough wooing. In the end, Ever After's spell is only half cast. [31 Jul 1998, Pg. 07.E]

Though not exactly dynamic, the movie offers insights into a specific culture. Ashley Rowe's photography is exquisite, and Driver has never been better. [14 Aug 1998]

Young girls will enjoy Lohan's matchmaking antics. But nostalgia-craving oldsters should stick to fond memories of Hayley [Mills]'s heyday.

The rawest, most sustained screen portrayal of 20th century combat.

A gut-busting blast of tasteless tomfoolery.

Dr. Dolittle does do a lot of stuff right. [ 26 June 1998, p. 12 E]

The low-key approach probably gets closer to the soul of Leonard, but it lacks zip. As a result, Out of Sight sometimes runs out of gas.

I entered the screening for The X-Files: Fight the Future with myriad questions... I left with disappointing answers. [19 June 1998, p. 7E]

Seeing gawky Charlie Korsmo, one-time movie moppet, as a superbrain whose introduction to alcohol leads him to do a rip-roaring rendition of Guns N' Roses' Paradise City, is worth a smile or two. But even that can't save [the] film.

Glorious picture-postcard photography. [10 July 1998, p.8E]

Funny... and the payoff is the most provocative Hollywood concoction in a while.

It all feels about as spontaneous as a concrete blueprint.

The opposite of entertainment, a self-satisfied soap opera from hell. But anyone itchy to see Ricci in her fleshy glory will adore her femme fatale for the Jerry Springer age, a Stanwyck stoked on steroids and SweeTarts.

Warren Beatty's uproariously rude Bulworth is 90% triumph.

Handsomely mounted, strikingly photographed in wide screen and exquisitely acted, director Bille August's new version of Les Miserables is at least the 21st adaptation for the movies or television. [01 May 1998]

Far from redundant. That's because (Kirk) Wong deftly balances the outrageous stunts. [24 April 1998, p. 6E]

It's dreadful, despite a solid cast that includes art-house heartthrob Ewan McGregor, Nick Nolte, Patricia Arquette and Josh Brolin. [17 Apr 1998]