Edward Guthmann

Dead Man plays a lot of cards at the same time, and Jarmusch occasionally loses his rhythm when he allows his actors their improvisational riffs.

Graceful compositions and slow, easy pacing.

One of the year's funniest acts of malice.

About American anti-Semitism, but it's not a typical genteel "cause" movie.

Kilmer dons 12 disguises in all, polishes them with impeccable accents and pliable postures and gives a performance that's far and away the best aspect of the diverting The Saint.

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

A handsome, entertaining twist on the King Arthur legend.

In his thrilling feature debut, Madame Sata, Brazilian filmmaker Karim Ainouz doesn't glorify dos Santos but examines the hot, reckless fever of his life in all its thorny complexity.

Both halves of the film are exquisitely acted and written, both are emotionally true, and yet they don't quite fit together.

Get Shorty is exquisitely cast, with droll, well-nuanced performances.

I don't want to damn Holofcener's efforts with faint praise, but the best way to describe Walking and Talking is to say that it's pleasant and charming.

Private Parts is witty and fast-paced and makes Stern's raunchy, breast-obsessed, lesbian-fetishizing, big-penis-envying, arrested-adolescent outlook seem like harmless fun.

Greenwald is fine at creating the texture of early mountain life but loses her footing by embracing several plot points at once.

This is a tour-de-force performance, delivered by an actor at the top of his game, and it's a shame that K-Pax, instead of engaging our imaginations as it promises to, devolves into such a conventional, paint-by- numbers disappointment.

Directed with style and wit by London filmmaker Richard Kwietniowski, who makes his feature debut here, Love and Death is an off-kilter romantic comedy.

A mystical tale of two souls, joined in love but divided in society, seeking redemption and understanding before they pass to another plane.

A tale of yuppie conformity and domestic angst that quickly turns into a horror film.

The Hudsucker Proxy is the Coens' fifth feature in a decade, and you can see their tremendous artistic growth in every frame of the film. Classically composed, beautifully shot by Roger Deakins ("Barton Fink") and co-produced by legendary action-flick producer Joel Silver, Hudsucker has technique and visual invention to spare. [11 Mar 1994, p.C3]

A wickedly, punishingly funny movie.

Crowe and his movie leave you with a good and generous feeling. As the Matt Dillon character might say, it's a pretty good hang. [18 Sept 1992, p.C1]

The movie belongs to Rodriguez: A gorgeous woman with a powerful body and the face of an Aztec princess, she's also a natural talent who instinctively understands the importance of economy in good acting.

One never knows where "Warm Water" is going and even though the film's objective feels a little fuzzy even at the end a parable on female sexuality? an ode to liberty? there's such a joy in the telling that it doesn't matter terribly.

This movie has a sweetness at its core.

It's not particularly deep, but it's a good-natured, sprightly comedy that ought to find its most appreciative audience among preteen girls.

Nicely photographed and beautifully scored.

Places Myers firmly on the top rung of movie comics.

Burton has trouble sustaining the briskness of the first half. But the brilliance of many individual scenes, and the extraordinary performance by Landau, are more than enough to justify this goofy, tender ode to eccentricity. [7 October 1994, Daily Notebook, p.C1]

A movie that's lean, unsentimental and hard around the edges -- a gut- grabber that stays with you for days afterward.