Colorful. [1 December 1995, p.D13]

An authentic-looking Jeff Bridges goes for the grit in an incoherently arty rendering (full of fuzzy-focus black-and-white flashbacks) filmed by action veteran Walter Hill. [01 Dec 1995, p.13D]

A 2-hour classic wrongfully stretched into three.

The first all computer-animated feature, which brings a bedroom of playthings to bouncy life, is yummy eye candy spiked with 3-D-style tactile treats.

A super cast injects it with Teddy Roosevelt vitality. [17 Nov 1995, p.D1]

The musical score is a dud, and the film is one firebomb too long. But GoldenEye's vision is 20/20 when it comes to reviving a legend. [17Nov1995 Pg.01.D]

A rote variation on Mark Twain's The Prince and the Pauper that is marginally salvaged by those spunky Olsen twins from ABC's Full House. [17 Nov 1995]

The movie is repetitious in some ways and superficial in others. But though Penn doesn't always seem to know where he's going, his movie doesn't altogether miss its destination. [15 Nov 1995, Pg.05.D]

But the best moments are in the trailer (the squirting skunk, the asparagus in the teeth), and they are funnier in short doses than lazily strung together. [10 Nov 1995 Pg. 01.D]

Allen's connective scenes are slack and barely functional, and even his asides lack bite.

But director Jodie Foster and writer W.D.Richter aren't content to serve the usual Planes, Trains and Cliches at their Thanksgiving feast. With her keen actor's instincts, Foster piles on plenty for her terrific cast to chew on and for us to savor. [03 Nov 1995, Pg.01.D]

Deliberately downbeat, it's best as a two-person character study, stumbling a bit whenever it extends its parameters.

Copycat, despite two tough-babe leads to kill for, flies in more directions than scattered kitty litter. [27 Oct 1995, pg.02D]

Not even scaremeister director Wes Craven can awaken this story. Murphy's pale efforts are enough to make one fondly recall Blacula. Now that was one sucker who knew how to make a film that didn't. [27 Oct 1995, p.4D]

Though it sounds like a blueprint for either disaster or dynamite, the movie is a bit too controlled to be either.

The slapstick would put Curly and Moe to shame. The raunch is crude as often as it is clever.

It wallows queasily in its high-tech violence and is woefully anti-climactic; if you think director Kathryn Bigelow doesn't know when to quit, just think back to her sky-diving folly Point Break. The audio-visual ka-boom here befits James Cameron's producing-writing co-credits, but little else justifies Days' prime Saturday-Sunday slot in the New York Film Festival. [6 Oct 1995, p.4D]

Jade recalls Sliver (even before its fizzled finale) by reuniting Eszterhas with producer Robert Evans, the faded genius and ill-pegged comeback producer who fared better with last year's lively autobiography The Kid Stays in the Picture. Judging from his last two movies, the aging kid stays on the D-list, too.

Moviegoers of rarefied sensibilities will easily identify this anti-captain-of-industry as a "typical Eric Stoltz role," just as moviegoers of extremely rarefied sensibilities will pick up on Kicking's "typical Chris Eigeman role." [23 Oct 1995, Pg.06.D]

It's a hoary Chinatown knock-off wrapped in a seductively novel black-culture veneer, with a dash of Laura added for bad measure. [29 Sept 1995, p.01.D]

Not since Tuesday Weld in "Pretty Poison" has an actress so played off her fresh-faced beauty for such pointed black-comic effect.

Director David Fincher shovels on more gloom than even the serial killer genre can sustain in the murkily moody, but self-defeating, Seven.

Who knew such a seamy swim in the misogynistic swill of life could be so entertaining?

Recalls the pumped-up energy of "Pump Up the Volume," as well as its casting prowess.

Yet because this adaptation of Franz Lidz's childhood memoir is odd enough and even stylish enough to attract a small following, you might want to weigh my ingrained dyspepsia before electing not to see it. [15 Sep 1995]

Lee captures the despair, self-delusion, occasional terror and frequent humor of a praised and popular novel, aided by the potent acting his direction virtually guarantees. [13 Sep 1995, p.01.D]

The stars at least keep Wong Foo watchable. [08 Sep 1995, p.7D]