David Sterritt

Even when its emotions run a bit out of control, Kramer vs. Kramer is a strong and positive film. Its performances are first-rate, from Hoffman and streep down to Howard Duff (as a divorce lawyer) and a terrifically talented lad named Justin Henry, who visibly matures in his portrayal of Billy, the contested kid.

Bassett and Diggs are appealing as the slightly odd couple, but the movie rambles on too long.

Too bad (Arnold) can't save the movie from it's superstitious clap-trap, sadistic violence, and sheer silliness.

Liam Neeson and Alan Rickman give sturdy performances, but Neil Jordan's historically based drama seems oddly cool and distant with regard to its incendiary subject.

Anderson's cinematic style gets more adventurous from one movie to the next, and he begins this story with bursts of originality that leave his respected "Rushmore" far behind.

Janeane Garofalo and Uma Thurman make a bright-eyed comedy team in this romance.

The movie morphs into a deconstructed remake of "Indecent Exposure" and it's downright riveting, with Campbell doing her best acting to date.

David O. Russell hasn't yet developed enough filmmaking savvy to juggle so many intellectual, emotional, and narrative elements. He's clever and ambitious, but perhaps too much so.

This is a lively, life-affirming documentary no viewer is likely to forget.

The best reason to see It Runs in the Family is the sight of unquenchable Kirk.

Far from the movie of the year, the first installment of the long-awaited Lord of the Rings trilogy is an all-around disappointment.

A scrupulously balanced look at the subject outlined in the title. Packed with historical, sociological, and cultural context.

Blends compassion for individuals with explanations of the socioenonomic factors that influence them.

Its best moments offer a sense of motion-picture poetry that will lift receptive viewers out of their seats.

The story has more violence than brains, but Hong Kong action star Chow makes an interestingly moody impression in his first Hollywood role.

A profound film by a legendary director in the greatest period of his career.

Riveting, suspenseful, and a perfect antidote to the too-tricky documentary "Super-Size Me."

The picture is effectively made, but viewers will want to erase the horrific violence that erupts in scene after scene, leading to an unusually mean-spirited finale.

Contains quite a few grisly and ghastly images.

How did a dignified pro like Duvall get stuck in this fender-bender?

It's as forgettable as they come.

The acting and directing are uneven, but many scenes have strong emotional and political power.

It's a troubling, courageous, compulsively watchable work of art.

Though it periodically loses its way among cardboard characters and stereotyped scenes, it deserves hefty credit for attempting more than the average movie dreams of accomplishing. [13 Aug 1981, p.18]

But the drama's attack on racism would be more persuasive if it rejected vigilante justice and recognized that hatred and violence of all kinds must be condemned if evils like bigotry are ever to be eradicated.

Must-see viewing if you're not quite sure the sun really set over the British Empire.

This poetic and compassionate drama by Canadian filmmaker Atom Egoyan combines the intricate structure of his earlier movies with an emotional power that raises his remarkable career to a whole new level.

Hal Hartley's innovative comedy-drama is more ambitious than successful, but it deserves credit for trying something genuinely unusual.