Desson Thomson

The 11-year-old Osment evokes the boy's terror and awful predicament so memorably, you'll never forget him.

A beautifully textured, disarmingly simple movie about romantic devotion.

Sinfully watchable ensemble movie.

One of the great movie satires. And if it isn't the funniest rock spoof ever made, it certainly shares the title with "The Rutles."

Each revelation seems more disturbing than the next. But Chinese treatment of Tibetans is only half the heartbreak. The other is the amazing resilience of the Tibetans, who are overwhelmingly Buddhist.

Everyone in the cast is terrific, including Dermot Mulroney as Wolf, the beret-sporting cameraman who thinks he's a genius but can't seem to stop screwing up shots, and Wanda (Danielle Von Zerneck), a tough-talking assistant director who gets weak in the knees whenever Chad gets close. Best of all is Buscemi, a wonderfully offbeat, edgy performer who has appeared in such independent films as Mystery Train and Reservoir Dogs. He carries the emotional weight of the movie as his dream project faces impending doom, his red-rimmed, frog-like eyes threatening to burst with exasperation.

A canny (and profoundly sexy) movie.

Sure, the heroes and villains are arranged in a convenient moral gallery. But the performances, Weir's adroit direction and John Seale's superb cinematography take care of that banality.

So full of pep you can't help surrendering to its creative energy.

Every moment of the way, there is a delectable sense of subtle menace and, at the center of it all, Huppert's haunting expression, part sphinx, part grace and maybe part scary.

Climb into this rig and you'll be sweating bullets.

A hugely absorbing social drama that is, by turns, excruciating, sad and sardonic.

Demonstrates what writer-director Levinson does best: evoke the sights, smells and atmosphere of his youth with intelligence, humor and a keen sense of social perspective.

It has its own sunsplashed vitality, thanks to spirited writing by Audrey Wells and winning performances from all three principals.

Takes you down paths full of primitive, almost biblical implications, but it also finds comic relief in moments of palpable tension.

A witty, raunchy comedy, which proves that a well-written piece of business – oozing with sex, wit and nasty intrigue – works for any generation.

One of the most thought-provoking documentaries of recent times.

Shows us, in an extraordinarily simple way, the hopes and frustrations of one woman's life.

I love the movie's originality, its sense of macabre humor, its resourcefulness, and the great Walsh, whose memorable narration kicks off the movie.

The animation, rendered in good old-fashioned watercolors, is appealing. It's easy, rather than flashy, on the eyes. But the best thing about the movie is the humor.

The result is a time capsule par excellence...This is the best of times and the worst of times, African American style.

Amounts to a rare gift and an opportunity to appreciate the end of an era and celebrate one of the screen's most subtly etched heroes: the soft-spoken Monsieur Georges Lopez.

Eve's Bayou is a movie unto itself, a rousing, original yarn about family life that includes everyone, whether they're from Louisiana or miles away. [07Nov1997 Pg N.48]

It's a masterful little film, and, thanks to Zhang's seasoned hands, it's subtly heartfelt but never manipulative.

In this good-natured film, even the smallest efforts at kindness yield positive results.

For students of cool ... Le Cercle Rouge is required viewing.

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.

A smart, restrained entertainment, it doesn't splash around in blood and hysteria. It doesn't have to.