David Sterritt

Gene Hackman is solid as the hero, and Dennis Hopper does his best screen work ever. [6 Mar 1987, Arts & Leisure, p.23]

This gritty drama doesn't rank with the greatest Iranian films, but its urban characters offer an interesting change from the nation's best-known productions, which generally center on rural subjects.

Though a tad lightweight, Tim Robbins's comedy cuts through Hollywood political blather.

Superbly cast, evocatively directed.

It's all very pretty, but its use of motion-picture possibilities is unimaginative. What lifts The Best Intentions above its visual limitations, and makes it seem impressive, is the extraordinary depth and sincerity of Bergman's screenplay.

Many times more African than "Tarzan" and "The Lion King" combined, Kirikou and the Sorceress is one of the best movies so far in this very young year.

Its low-key charm shows that Dogma filmmakers have yet to run out of ideas.

Excerpts from Schroeder's long video documentary about him, and from the flawed melodrama "Barfly" they made together, add more variety.

If the heroine really had seven days left, she wouldn't waste it watching stuff like this.

Fans of Robert Altman's hit "Gosford Park" will find similar pleasures here: colorful characters, multiple story lines, and clever blends of comedy and drama.

Fascinating.

The Plot Against Harry isn't likely to be a smash hit; it will be most successful in large cities, with audiences who want something different from slam-bang Hollywood comedies. But it has the special kind of charm that comes from watching believable characters behaving in real, if eccentric, ways. [02 Feb 1990, p.11]

Ultimately, it's more an emotional hodgepodge than a compassionate look at real human problems.

A very well-meaning movie, and it will stand in future years as an eloquent memorial to the World Trade Center tragedy.

It would be even more impressive if the story and characters lived up to the inventive techniques, though.

The tale doesn't always seem sure where it's going, and for once in his career, Leigh doesn't always appear to have a firm grasp on his project.

What makes the movie powerful is Timoner's decision to structure it via Taylor's perspective on his competitor, with no holds barred.

Carries a strong emotional charge along with its valuable reminder of the suffering that youngsters may undergo when a heedless society overlooks their needs.

While it's often harsh in style and melancholy in subject, Kandahar taps into veins of humor and compassion as well.

Written and directed with uncommon sensitivity by James Mangold, a strikingly talented newcomer.

Acute sense of color and offbeat storytelling style aren't enough to make this sometimes sensual fantasy more than a whimsical trifle.

What he forgot to ask Woody [Allen] for was the keen insight into middle-class folkways that marks the best Allen pictures. [28 July 1989, Arts, p.10]

The story has too many trite moments, but strong acting and a goodhearted attitude keep it afloat.

This clever and original movie is like a John Hughes comedy for the '90s.

Writer/director Peter Duncan's first film is darkly humorous, with dashes of slapstick, brilliant, and original material.

Even the delightful Duff disappoints.

The performances of this quiet Iranian drama are utterly genuine, and the story is a delicate blend of slice-of-life realism and soft-spoken social commentary.

Gentle, humanistic, delicious.