Dave Kehr

The direction is lively and often overinventive, as was frequently the case during the early, experimental phase of his career.

Gremillon seems the master of every style he attempts, but his genius lies in the smooth linking of those various styles; the film seems to evolve as it unfolds, changing its form in imperceptible stages.

This is one of the greats, and I’m too much in awe of it to say much more than: See it—as often as you can.

One of the most deeply and disturbingly nihilistic films ever made, as well as one of the most heart-pounding thrillers. [06 Mar 1992, p.C2]

The original antimarijuana film, offering the true inside story of the devil weed that drives men to savage lusts and women to unspeakable depravities, along with a little bit of dumb fun.

Dismal Stanley Kramer morality play about a middle-class couple facing the prospect of their daughter's marriage to a black man (Sidney Poitier). A disaster on all counts.

Hot Shots! is very sharp and very funny, and if it doesn't have the aggressive, anarchic edge of "Airplane!" (attitude seems to be the specialty of David Zucker, who has just released "The Naked Gun 2 1/2 "), it is consistently, almost exhaustingly hilarious.

Unlike Richard Pryor, whose rough language adds an important rhythmic punctuation to his monologues, Murphy uses vulgarity to shock and divide his audience.

Though The burbs is hardly an actor's film, Hanks continues to demonstrate the ease and maturity that has been his since Big, while Dern, Ducommun and Feldman lend broad but effective support.

Buñuel conjures with Freudian imagery, outrageous humor, and a quiet, lyrical camera style to create one of his most complex and complete works, a film that continues to disturb and transfix.

Mr. Sawyer eventually overreaches, striving for tragedy with a grim, cautionary ending that seems meant to evoke "Frankenstein." But the film's offhand, homemade quality sustains a quirky appeal.

Despite all the anguished huffing and puffing, there isn't a single authentic moment in it, and all you're left with in the end is the fading memory of two overscaled, Oscar-bait performances.

Director Colin Higgins plays foul with the audience, constructing some of the most dishonest suspense sequences ever filmed, and ends with a thriller that is obnoxious and manipulative in the extreme. If it were exciting, I suppose it wouldn't matter, but it's not: Higgins can't be bothered to bring the slightest bit of conviction to his plot, which takes nearly two hours to run its unimaginative course.

Poltergeist at this point is a brand name without a distinctive product to sell-no vivid characters, no unique situations, no look or meaning of its own.

Seemingly endless and punishingly unfunny.

Nimoy directs the comedy in a loose, relaxed, almost sketch-like manner, but when the film moves into its multiple-cliffhanger climax, he's still able to generate some genuine dash and tension. The only drawback is that the Enterprise gang is starting to look a little long in the tooth for such strenuous action.

Homicide isn't easy to take, but its vision is chillingly persuasive. [18 Oct 1991, p.B]

Ousmane Sembene’s 1977 Senegalese film was attacked for daring to depict life in precolonial Africa as something less than paradisiacal.

Sid & Nancy is a movie that features head-bashings, drug overdoses, stabbings and a more-or-less constant round of pointless, stupid violence, and yet its most prominent quality is its sweetness. This is a love story--an unlikely, perverse, disturbing love story, but a genuine one.

Though the film is far from polished, the force of its significance to Mr. Frey, as well as the urgency of its political message, give it some genuine impact.

One of the few remaining Hollywood filmmakers who can function at this level of pure cinema, Hill delivers here with a renewed force and assurance. After a string of tired films (including the exhausted "Another 48 HRS."), Hill seems revitalized. [25 Dec 1992, p.C]

For an outside observer, Saints and Sinners doesn't make particularly compelling viewing, but Ms. Honor has given her subjects an excellent present on their big day: the ultimate wedding video.

An excellent film, still as fresh as the day it was made.

It sounds like standard Cinderella stuff (and the script comes complete with plenty of allusions to princesses in towers), but it's played here with an emphasis on possessions and possessing that borders on the obscene… It's a pretty ugly movie. [23 Mar 1990, Friday, p.C]

The Maltese Falcon is really a triumph of casting and wonderfully suggestive character detail; the visual style, with its exaggerated vertical compositions, is striking but not particularly expressive, and its thematics are limited to intimations of absurdism (which, when they exploded in Beat the Devil, turned out to be fairly punk). But who can argue with Bogart's glower or Mary Astor in her ratty fur?

If anything, this new film version is cornier and more conventional than the first screen adaption of the novel. [2 Oct 1992, p.C]

A wan, wistful Generation Y romance.

Joins the small pool of films that have dared to use Imax to tell a story.