Edward Guthmann

Wong denies us the satisfaction of resolution, but in sharing his mastery of cinema, and his gift for conveying mood, desire and vivid emotions, he's more than generous.

Exhilarating not only for its dreamlike images and fierce, frequently reckless imagination but also for the fact that it got made (and released) at all.

Unlike other recent films noirs -- ''The Grifters,'' for example, or ''After Dark, My Sweet,'' both of which were based on Thompson stories -- One False Move lacks style and wit, and doesn't explore its characters beyond their cheap, cruddy exteriors. [24 June 1992, p.E1]

Spartacus isn't the greatest epic ever made, but it's head and shoulders above most of the sword-and-sandal wheezers that came out in the '50s and '60s. And, given the prohibitive costs of shooting an epic today, it's the kind of movie we're not likely to see anymore -- except in well-deserved revivals like this one. [13 May 1991, p.E1]

Film is often too subtle and languorous for its own purposes: At times, it's close to soporific.

This is Rampling's film, and she's never less than surprising, never less than a revelation.

Jackson has called "Creatures" a "murder story about love, a murder story with no villains." His generous approach makes it an unforgettable experience.

This is an amazing record of a group of lives -- and probably more resonant than anyone could have imagined when the project began.

All the actors are good, but it's Farnsworth's brilliantly simple performance that brings The Straight Story so close to greatness.

A lot of actors are labeled "brave" for taking on difficult scripts like this, but Spacek is the real thing: an artist first, without vanity, and a movie star almost by default.

It's rare that we have a screen character as well-rounded, as recognizably human or as brilliantly played as Sonny Dewey.

Nobody's Fool functions mostly as a character study, but it's also Benton's elegy to America's endangered small towns. It's a gem.

Explosive entertainment, with the tension and volatility of its subject matter.

Remarkable also for the uniform excellence of its cast, and for the pleasure [Altman's] actors take in the wide berth he allows them. [24 Apr 1992]

Martin Compston, the young man-child of Sweet Sixteen, had never acted before, but his combination of sweetness and rage -- part puppy, part pit bull -- gives Sweet Sixteen a shot of reality and a big, aching heart.

Varda's subject matter is surprisingly rich, but it's her own energetic, curious nature that gives the film its snap.

A strange, vivid tale of two British schoolchildren stranded in the deserts of the outback.

It's an horrific and tragic story, but somehow made beautiful through the care and attention of Schnabel's direction and Bardem's tender, unforgettable performance.

A story that's startling, soulful and absolutely unforgettable.

Worse than dull. It's parasitic.

The magic here is all in the telling: in the graceful, laconic direction of Jacques Becker.

A visually spectacular film, distinguished by strong performances and brilliant Steadicam photography that snakes through the U-boat as its patrols the North Atlantic during World War II. [Director's Cut]

All things considered, The Long Day Closes is a remarkable film -- tender and intelligent, long on mood and short on ''action,'' a cinematic poem that stands head and shoulders above the summer harvest of bonehead action thrillers. [23 July 1993, p.C9]

A master of minimalism, Finland's Aki Kaurismaki makes films that are so dry, so delicately ironic that they seem on the verge of crumbling in front of us -- but they never do.

That's why American Movie cuts so deep: It's about the American dream, about not giving up, about being true to yourself.

Concubine demonstrates that Chinese films are growing by leaps and bounds in their technical sophistication, but also reveals how much they borrow from the energy and style of American cinema. [29 Oct 1993, p.C1]

A wonder of a film -- a luminous, beautifully executed drama that gathers the best cast of the year -- the best American film of the year.

Today, Blade Runner works better than ever: Scott's version not only has more dramatic integrity, but its visual aesthetic and futuristic vision are more in sync with today's movie-goers. [11 Sept 1992]