Bob Graham

In Ran, the horrors of life are transformed by art into beauty. It is finally so moving that the only appropriate response is silence.

The most striking effect of the Technicolor process is its subtlety. The viewer is aware of the gradations of flesh tones in Leigh's face and can see the color rise in her cheeks. The exact color of her eyes is a source of fascination (they are gray-blue with flashes of green).

Bride is often cited as Whale's masterpiece, and one of the reasons surely is his intentional lacing of humor throughout that never completely undercuts the horror or pathos.

The class act of action movies.

The comic contrast between the genteel snobbery of von Bulow, a Danish aristocrat, and Dershowitz's dry contempt for his well-tailored client is treated with understated but stinging wit in Nicholas Kazan's brilliant script. [9 Nov 1990]

This Alfred Hitchcock film on his familiar theme of the wrongly accused man is outstanding in every respect. [19 Sep 1999, p.52]

An overwhelming experience.

Part of the appeal of Topsy-Turvy is its generosity about human folly and shortcomings. Its wistfulness is very touching.

Claude Rains' performance in the title role of The Invisible Man may be outtasight, but you can still see the hand of director James Whale.

No one else makes movies like this Spanish director.

It would have been enough that Singleton raise these difficult questions without trying to wrap them up, too, in the last five minutes.

It's astonishing that so much money, talent, technical expertise and visual imagination can be put in the service of something so stupid.

It is a spellbinding hour and 45 minutes of pure music, Latin jazz to be specific.

Enter the Dragon goes far beyond the philosophical, of course. Its best sequences, and the only real reason for seeing it again, involve Lee's phenomenal physical and emotional presence.

A strange mix of the campy, at least in the English dubbing, and the awesome.

A viewer may even blink his eyes to be sure the turn of events is actually happening.

Don't be too quick to jump on Hurt with complaints of old-fashioned gay stereotyping. Only with a development well into the movie will the audience realize the layers he brought to Molina's role-playing.

This is a transcendent film, deeply committed and beautifully wrought. It will make anyone who sees it look at the world with new eyes.

It's the kind of unpretentious movie that falls between the cracks, and for a certain kind of audience, the thoughtful kind, it would be a shame to miss.

Chunhyang is an extravagantly beautiful movie that many viewers are going to love and others are not going to be able to sit still for. That's their problem.

For a bighearted effort like this one, some patience on the audience's part is not too much to ask. Go ahead. Take a chance.

This warm, celebratory and very public film is punctuated by sudden and luminous private visualizations.

Where it really counts, though, it's the same good old comic action fantasy.

At times, Anderson may be too brilliant for his own good, and there is a risk that viewers will tire of the director's relentlessly prowling camera.

A hostage drama that oscillates between soap opera and action flick.

This is almost Mel Brooks territory: The frontiersmen think the Chinese are Jews, while the white settlers think it's the Crow Indians who are. Whoosh!

All bets are off. For my money, Vincent Gallo wins the Triple Crown of indie filmmaking -- for writing, directing and starring in Buffalo '66.

I Stand Alone ("Seul contre tous" in French) is a portrait of a pathetic soul, but it is also a cautionary tale. The butcher cannot be dismissed as a monster, nor is this a creep show. Something like the butcher's story can be found almost every day in newspaper crime reports.