David Ansen

A wicked delight. Adapted by playwright Patrick Marber from Zoe Heller's acclaimed novel, it's at once a comedy of cluelessness and class, a melodrama of two women in the grips of wildly inappropriate obsessions, and a "Fatal Attraction"-style thriller.

A rancidly hilarious slice of Americana. [01 Jun 1981, p.91]

Self-conscious to the point of suffocation.

Kasdan has made a winning if overly pat first feature notable for its keen ear, its preference for character over plot and its refreshing modesty.

The secret of Volcano's success as a better-than-average disasterama is its nonstop pace.

Spielberg doesn't differentiate between the good ideas in the script and the bad ones: everything is given an emphatic, production-number treatment... His ultraslick, seductive technique can be a pleasure to watch in itself, but it can't disguise the fact that "Always" is a decidedly uneternal fantasy. [1 Jan. 1990, p.60]

If history is a battlefield, JFK has to be seen as a bold attempt to seize the turf for future debate. It is also "just" a movie, and one that for three hours and eight minutes of dense, almost dizzying detail, is capable of holding the audience rapt in its grip. [23 Dec 1991, p.50]

Prick Up Your Ears is a bold piece of work -- satiric, melancholy, free of cant. It's a post-Orton movie in every sense: without his work at the theatrical barricades 20 years ago a movie like this wouldn't have been possible. [20 Apr 1987, p.89]

Slick, gaudily suave guilty pleasure of a movie.

The comedy gets better, and more unpredictable, as it goes, and so do the performances.

Seabiscuit may be too airbrushed for its own good, but in the end nothing can stop this story from putting a lump in your throat.

Along the way, not just the storytelling but the original intention has gotten muddled. You leave The Alamo uncertain of what you're meant to feel: is this a celebration of patriotic sacrifice or an illustration of war's futility?

Iceman may boil down to a disappointingly sentimental/mystical concept, but Schepisi is such a fluid, exciting filmmaker that you remain thrilled by his images even if you're dismayed by the direction the plot takes. [16 Apr 1984, p.92]

Lurid, illogical and utterly off-the-wall, this funny-scary exercise in low-budget schlock is a marvelous orgy of cheap thrills, including a supernaturally sinister mortuary, a hideously wriggling severed finger, one furry flying creature, dwarfs from the Undead, and the goriest - indeed the only - blood-sucking flying steel ball in movie history. [16 April 1979, p.86]

This Superman, which infuses its action with poetry, soars as a love story filled with epic yearnings, thwarted desires and breathtaking imagery.

Presumed Innocent is a slow fuse of a movie. It never quite explodes with the resonance Pakula intends. It tries too hard to be important. But the story it tells is a good one, and once it's got its hooks in you, there's no turning away. [30 July 1990, p.56]

Films about great theatrical divas (so temperamental! So divine!) all strike familiar notes. This Somerset Maugham adaptation is no exception. But Annette Bening, playing the queen of the '30s London stage, makes it worth another go-round.

It's preposterous, but never dull: Scott whips the action into a taut, tasty lather.

Comedy is no laughing matter; when a joke dies, the joker -- as well as the audience -- dies a little, too. At the end of Richard Pryor's latest comedy, The Toy, the viewer may require emergency medical attention. Shapeless, noisy, vulgar, sentimental and amateurish... [13 Dec 1982, p.83]

The movie is, from start to finish, a hoot... Both a savvy satire of smalltown boosterism and an affectionate salute to the performing spirit. [10 Feb 1987, p.66]

It's hands down the funniest of the year, both pushing the boundaries of bad taste and exploring how those boundaries keep shifting.

Though some viewers are sure to take offense, between the scattered laughs the movie's most remarkable achievement is its run-of-the mill dullness. [10 Nov 1986, p.86]

Lehmann isn't in perfect control - the movie gets off to a flat-footed start, and the conclusion is chaotic - but when Heathers hits its stride, it reaches wild and original comic heights. [2 April 1989]

Gangs is a dream project Scorsese has wanted to make for 30 years. You have to honor its mad ambition. But sadly, it feels like a dream too long deferred.

This German movie, with its lush cinematography and lovely score, has the sturdiness of an old-fashioned Hollywood epic. What isn’t Hollywood is Link’s refusal to tell the audience how to feel at every moment.

Vertical Ray slows our rhythms and heightens our senses: it's a shimmering, tactile experience.

Too facile to resonate deeply. Shouldn't a movie celebrating Nash give you some idea what his mathematical work is about? Fishier still is the suggestion that the cure for paranoid schizophrenia is love.

It succeeds in bringing O'Barr's comic-book vision to life, but there's little else going on behind the graphic razzle-dazzle and the moody, ominous soundtrack.