You don't get the sense that too many enthusiasts are hanging up wanted posters for the ho-hum-ish U.S. Marshals. [6 March 1998, pg. 04.D]

t's far too soon for an actress as vital as Jessica Lange to stoop to Bette Davis-Joan Crawford horror-hag histrionics. [6 Mar 1998, pg.04D]

Truth be told, Joel and Ethan's game is a little off, inconsistent and at times just plain incoherent. But they roll enough solid laughs and eye-tickling camera tricks to satisfy. [6 March 1998]

Fascinating, visionary filmmaking. With its amber-tinged palette and its distinctively dystopian view of life, it may be the most unique-looking film we've seen in ages...[but] defies logic and makes frightening and unexpected leaps.

Based on the days and especially nights of Venice's 16th century courtesan Veronica Franco, this alternately dull, lively, sexy and silly costumer lightens the locks of brunette Braveheart dish Catherine McCormack. [27 Feb 1998]

Waterlogged trip to nowhere. [13 February 1998, p. 3D]

Nil is harrowing and soul-sapping, a look into the heart of darkness of London's underclass.

The foot-stomping, hand-clapping, ear-electrifying soundtrack, courtesy of such pros as B.B. King and Eric Clapton plus newcomers like Erykah Badu, in Blues Brothers 2000 (# # 1/2 out of four) rectifies many a movie-making sin in this near-Xerox sequel to the 1980 Saturday Night Live-spun hit starring Dan Aykroyd and the late John Belushi. [06 Feb 1998]

Transforms Charles Dickens into a Chuck. Ground Chuck, unfortunately. [30 January 1998, p. 7D]

Until it coughs up a ridiculously convoluted explanation of why an isolated town in Colorado suddenly goes deader than a weekday matinee of "The Postman," Phantoms delivers the shivers.

Washed away by drippy plot. [16 January 1998, p. 4D]

This is a slow if stylish slog through familiar terrain.

But for an epic set up to trace two life stories, there's a lack of dramatic focus, and the leads fail to evince any particular chemistry as friends who come to have a deeper emotional connection. [31Dec1997 Pg.02.D]

Were this movie a naval battle, it would be Lord Nelson vs. Judd Nelson, so decisively do the older actors knock the younger off the screen. [26Dec1997 Pg03.D]

Between Jackson's opining and De Niro's hopeless alibis when he messes up, Jackie is good for a bundle of bloody ho-ho-hos.

Stately but static. [23 December 1997, p.3D]

The best acting in Mr. Magoo actually comes courtesy of his resourceful bulldog, Angus. As pooches go, he has a better pedigree than this dog of a flick. [23 Dec 1997, p.3D]

It's a case of actors and strong writing coming together, and it's uncommon in contemporary movies.

His (Cameron) movie may not be perfect, but visually and viscerally, it pretty well is.

Wacked-out and warped. [19 December 1997, p. 3D]

Though Bond may never die, this time he's on life support. [19 Dec 1997, p.3D]

A good little movie dominated by a great central performance that's likely to endure. [30 Jan 1998, p.D2]

Sheer power, moral and otherwise. It possesses a massively majestic hero. [10 Dec 1997, p.D1]

Damon convincingly matches Williams recrimination for recrimination in this portrayal of mutual tough love, even with the latter giving what may be the best performance of his career.

Writer/producer John "Home Alone" Hughes, the Marquis de Sade of kidcom, and director Les Mayfield manage to squeeze the very bounce out of what should have been a can't-miss update. [26Nov1997 Pg09.D]

Shot in semidocumentary fashion, it builds to a more visceral climax than one initially expects. [26Nov1997 Pg.09.D]

A little movie almost perfectly realized.

Flawed but not fatally, this ambitious epic's strength lies not just with its haunting melodies, pretty pictures, star voices and kid-friendly sidekicks - the usual shtick that makes Disney tick. [14 Nov 1997, p.D6]