Desson Thomson

Nair is not making a caricature out of Lalit or anyone else. She's inviting us into the inner recesses of her culture. And it's both pleasure and privilege to be one of her guests.

You're invited to fish for the comedy within the movie, within Harry's world, which happens to be falling apart around the hapless schlemiel's ears.

This is a superb theatrical situation, and you have two great performers doing the emoting.

Though it might lack in Hollywood production values, it overflows with moral impact.

Within its narrow, unambitious, commercial boundaries, the movie is highly watchable. Lowther is appealing, and Costner is a likable rebel.

It will often tear at the heart too -- at least, when it doesn't feel like the rap equivalent of a classroom lecture.

It is horrible. Time curls up and dies while this Hilary Duff vehicle wheels its weary, conventional way along.

The movie's wonderfully original, fast-moving and funny.

What's so powerful about the film is the rich stories it tells and how it leads them like so many human tributaries to one black, bubbling source.

It's an updated Capra fantasy that goes for the sweet rather than the tart.

Vibrant and engaging documentary.

May just be the best in its genre… Entertainment and radical street preaching, all rolled into one. If it tells black kids not to try this at home, it also revels cinematically in blam-blam-you're-dead. This is what makes the movie maddening -- and what gives it strength.

Engagement simply disappears inside its own enormous, intricate and ambitious design.

As with his other works, [Mann] binds sound, music and pictures into one hypnotic triaxial cable and plugs it right into your brain. He makes this almost-three-hour experience practically glide by.

Love is supple entertainment -- thanks to on-the-money performances by Bassett and Laurence Fishburne as Ike.

There's such a sense of overall intensity, you know you have been though something powerful.

About as funny as malaria.

And what makes this autopsy of a love affair funny is Tom's ironic, morose commentary as he revisits what happened.

Hums with compassion for its outlandish, lonely but always sweet characters.

Roundly entertaining.

Passionate, literally shimmering movie.

More juvenile than a Mel Brooks movie, wittier than "Get Smart," almost as low as "Animal House" and close to the laugh count of "Airplane!", "Gun" is a loving parody of every cop show that ever syndicated its way to your living room. [2 Dec 1988]

All in all, this is a celebration of Australian exuberance, a national ethic of adventurousness and enormous charisma.

It's a thrill to listen to the seasoned survivors offering witty, evocative anecdotes about themselves and others.

A saga of unbearable sadness and romantic beauty.

Finally, we have found ourselves in a movie where the characters are free to blunder, even if it means turning their backs on us. There's powerful liberation in that, all around.

There's more bathroom and slapstick humor than a sixth-grader could stand, and a veritable flood of drool, blood and less mentionable effluvia, most of it courtesy of Mr. Wayans as he tries to be – you know – funny.

The movie is bracing, bleak and funny, assuming you can appreciate the comedy in a story full of lowlifes, lushes and losers.