Andy Seiler

It could be argued that this movie's callousness toward human life is nihilistic and nasty. But Woo takes everything so absurdly far that audiences laugh at what horrified them moments before. [27Jun1997 Pg01.D]

Excitingly edited and evocatively scored, Microcosmos adapts big filmmaking techniques to tiny creatures. You get thrills, slapstick and even romance. [11 Nov 1996]

A must-see for animation fans.

Uneven, amateurish and borderline misogynistic. But it's also very funny, and it never loses its cool.

One of the strangest sequels of all time, director George Miller's wildly imaginative vision of animals loose in a dangerous urban dreamscape at times seems much closer to his work on the Mad Max series than to the bucolic charms of the original, which he produced but did not direct. [25 Nov 1998, p.1D]

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.

Gives new meaning to the phrase "not for the squeamish."

The economical, fast-paced style and creepy mood are reminiscent of "The Twilight Zone."

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]

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]

Fans will appreciate not only that the film is predictably solid and surprisingly sharp but that parts of it are just plain bad.

By emphasizing surreal humor and fast-paced action instead, Rodriguez has crafted a prepubescent version of James Bond without aping that series' style.

All coy and fey -- and painless to digest.

Director Dominik Moll knows how to make a gruesome-free thriller and even manages some dark laughs as he turns the screws.

Thinking isn't going to do anyone a bit of good during Blue Streak. Turn off your brain instead and you might enjoy it.

One wishes producer Spike Lee had stepped in to give the dialogue some sass.

This surprisingly sentimental science-fiction thriller boasts enough fresh twists to satisfy time-travel junkies.

Robbins' performance as Winston is the best thing in the movie.

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

If Wonderland is difficult to embrace, it is easy to admire.

The action scenes in Vertical Limit take cliffhanging to the highest peaks of excitement. It's a shame the story keeps dragging us down to sea level.

You may enjoy One Night -- but you may feel guilty about it in the morning.

Far too familiar.

Pure nonsense is hard to sustain for an entire feature-length movie.

This savage parody of the many recent coming-of-age-in-the-ghetto melodramas is rude, crude and outrageous. It's as likely to elicit gasps from the politically correct as chuckles from the impossible-to-shock. [15 Jan 1996, p.4D]

It's a good actors' showcase, yet not a particularly satisfying movie. [22 Jan 1999]

Best to wait until the movie makes it to TV - where its missteps will loom less large.

A curious but intriguing movie that leaves you bemused and more than a little confused.