David Sterritt

The chief reason for its legendary reputation is the brilliant match between its timeless historical subject - the trial that required Joan to defend her faith before skeptical representatives of church and state - and Dreyer's decision to film it primarily in relentless close-ups, using the sharply etched faces of his performers to suggest the invisible spiritual struggles going on beneath the drama's human dimensions.

Also predictable is the film's simplistic treatment of themes from religion and myth… It's curious that Spielberg and Lucas see these venerated objects not as symbols of divine inspiration but as repositories of a blind, undiscriminating force that can be wielded (like the three wishes from a genie or a magic lamp) by whoever gets their hands on them. [13 June 1989, Arts, p.11]

Solid acting and engaging characters round out the neatly assembled tale.

Surprisingly, this is the work of director Martin Ritt and Sally Field, the star whose Norma Rae combined sharp drama with keen social awareness. Their new film is the junky underside of that good movie. [26 Mar 1981, p.19]

It doesn't have a speck of authentic heart -- you can bet its Hollywood creators wouldn't move to Alabama if their lives depended on it -- but if you belong to the growing legion of Witherspoon worshippers, this is definitely the movie of the week.

The drama is likably low-key but builds little excitement, and Bowie's star billing says more about the power of his agent than the number of scenes he appears in.

Hou's sensitivity plus Ozu's inspiration equals sublimity of sight and sound.

Superbly acted, cleverly written, sensitively directed.

The style is slick, the action is suspenseful, and despite the explicitness of the sex scenes, the message is against extramarital affairs.

It combines a fresh and exciting style with stunning performances and that rarity in current film, a deeply humanistic story.

Brooks endows Japanese Story with a fair measure of suspense, pathos, and romance, despite the challenge of conjuring these qualities from only two main characters and not much else to look at in many scenes but sand, sand, sand.

The story isn't as funny as it tries to be, but it grows increasingly winning as it goes along.

Starts quirky, grows steadily darker, doesn't build much excitement.

Directed by John Glen, who keeps the excitement level high for an hour or so, then lets the show slip into the doldrums.

Part of the movie's fascination is watching Ms. Bening play a role that tantalizingly mirrors her own position in today's movie world - and she does it with wit, sparkle, and all-out energy.

It's great to see so many smart girls in a Hollywood movie!

As the hero, Christopher Reeve oozes with sincerity in the world-peace scenes - he helped write the story of the film, and this may be why he overdoes it. But he's also funny when he gets back to being klutzy Clark Kent, so the movie doesn't completely drown in its own good intentions.

Inherently stale.

Wordy, wearying drama.

The premise is more interesting than the movie, which takes several wrong turns on its way to an unconvincing conclusion.

Rob Cohen's movie has flashes of wit, but there's little substance to the story, and Draco's charms are surrounded by too much graphic violence. [31 May 1996, p.13]

The buildup is slow and deliberate, creating a vivid sense of love and warmth within the family who share the harrowing adventure. The climaxes are horrific, with effects recalling ''Raiders of the Lost Ark,'' but in a less exotic setting.

As soon as I finish writing this review, I'm going to try traveling a few hours in the past. That way, I can improve my life by skipping this movie!

This visually inventive fantasy paints the wide screen with colorful effects, but its psychological and spiritual ideas rarely rise above "new age" fuzziness.

Beneath its surface of chronic suffering and hospital details, Chereau's best drama etches a humane, sensitive, and richly moving portrait of fraternal love struggling to mitigate human frailty.

The movie is remarkably touching and engrossing, with Kline's spot-on acting and realistically second-rate singing balancing Judd's one-note performance as his wife.

Besson's account of the Maid of Orleans presents itself as a celebration of a martyr's faith but shows more interest in the violence and hatred that surrounded her life.

Along with its historical value, The Weather Underground is also a terrific movie, energetic, and articulate. It's the don't-miss documentary of the season.