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]

And though young Miko Hughes does a fine job as the traumatized Simon, this ain't no "Rainboy". [3 Apr 1998, p.SE]

Perhaps Nichols and May's greatest accomplishment is capturing perfectly on film the mysterious, complex, compromised relationship the public has with today's political leaders.

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]