We accept the sincerity and altruistic motives of the aging loner he (Philip Baker Hall) portrays in this consciously spare Nevada-set sleeper. [13 March 1997, p. 8D]

However, anyone seeking a good time that involves wit and logic will consider the film a definite wrong number. [26Feb1997 Pg 03.D]

It's as disturbing a movie as you are likely to witness this year. [21Feb1997 Pg.04.D]

Eastwood gutsily stages the extended opening slowly and methodically... [But u]nintentional yuks litter an otherwise somber political thriller adapted from David Baldacci's novel.

Hurried, harried. [14 February 1997, pg.D4]

Older youngsters not threatened by PG-13 levels of intensity might pester Mom and Dad to let them see this cinematic fluff-head. For everyone else, it simply is what it is -- which, despite a budget that could feed Star Wars' Jabba the Hutt for life, isn't very much. [07Feb1997 Pg 04.D]

The nonstop amusing mockumentary Waiting for Guffman does to small-town acting troupes what "This Is Spinal Tap did to heavy-metal bands."

The "nonsequel" that regathers the inspired loonies who scaled the heights of giddy anarchy in 1988's "A Fish Called Wanda," is a different comic species. [24 January 1997, p. 3D]

His complex personality comes through in this surprisingly affecting minor pleasure, though perhaps one shouldn't be surprised when two of Hoop Dreams' key makers reunite for another smart sports pic. [24Jan1997 Pg.03.D]

Pretentious and show-offy, the noirish drama fairly reeks of film-student overkill.

Rob Reiner's self-congratulatory Ghosts of Mississippi portrays Medgar Evers' slaying from the viewpoint of a white guy and can't even do a capable job of that. [20 Dec 1996]

Forman finesses the story's grimmer aspects as he did in "Cuckoo's Nest," and his ability to switch moods on a dime remains unsurpassed.

So fluidly visual that only a deathbed finale can flag its pace, it's the first Panavision music video to run 21/4 hours, the monotony finally sapping its staying power. [23 Dec 1996 Pg.01.D]

Director/co-writer/co-producer Nora Ephron is best known for the magical Sleepless in Seattle. Michael is mirthless in the Midwest. [24 Dec 1996 Pg.03.D]

Writer-director Andre Techine, who's been on a recent roll with Wild Reeds and Ma Saison Preferee (also with Deneuve and Auteuil), is in even better form here. [23 Dec 1996]

Intelligent but exasperating, its monotonous tone will wear down even viewers who started out in its corner. [27 Dec 1996]

While Scream has its frights, it feels more like one of those solve-the-mystery jigsaw puzzles than a real movie.

One Fine Day is two formulaic hours, but they do illustrate how two attractive leads and a lickety-split narrative can elevate meager material into something this side of bearability. [20 Dec 1996]

Keaton doesn't stoop to bitter-spinster blather. Instead, the luminous vulnerability that served her well in such dramas as "Shoot the Moon" lights up this depressing, gallows-humored heart-tugger. [18 Dec 1996, Pg.01.D]

Huston's movie seems to disappoint some who've read the novel, but the forlorn humanity that triumphs over the depravity and poverty is unforgettably affecting. [13 Dec 1996, p.1D]

Overstuffed but exuberantly humane.

An equitably rude comedy about abortion, brazen by definition but also fairly droll. It's probably too schematic to reward more than a single viewing, but as a provocative one-time surprise it may become a specialized sleeper. [13 December 1996, p.4D]

Sling Blade is about a society barely holding on by its fingernails, the home and hearth hardly a place of respite. Unlike "The Ice Storm" or "The Sweet Hereafter," Sling Blade is devoid of the creature comforts of middle-class life that at least allow people the degraded hobbies that keep them functioning. [May, 1998]

Director Stephen Herek does an admirable balancing job, though the movie slows whenever the animals solo onscreen. [27 Nov 1996 Pg.01.D]

The Crucible shrewdly saves its most potent ammo for the end, audience-friendly showmanship to further signify a bang-up movie. [27 Nov 1996]

Note this in your Starlog: Tacky toupees are out. Chrome domes are in. And not only is the future in safe hands, so is the "Star Trek" franchise. [22 Nov 1996 Pg.05.D]

Shine has a story to reckon with and powerhouse male performances.

The big story here is Kristin Scott Thomas' captivating performance.