Edward Guthmann

A handsome film, filled with lavish costumes and set designs and told in a series of exquisitely composed images. But even with its visual polish, it's a chilly, largely unaffecting film about an unsympathetic man.

A powerful allegory.

The aftertaste of that father-son scene is so strong, so disturbing, that the riches of Happiness -- its writing, its performances, its trenchant wit -- all seem a bit diminished in the bargain.

A blast of manic energy in the form of a film.

It's Eric Bana, a popular Australian stand-up comic, who justifies our interest with a dazzling performance of blunt humor, unpredictability and an edge of menace.

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.

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

It's a strong film, but apart from its stunning images, it doesn't linger in your mind's eye the way you would like it to.

Despite its implausibilities, Only the Lonely disarms you with its innocence. [24 May 1991, p.E1]

It's a sensational part for a young actress -- the film is told entirely from her point of view, using her journal entries as voice-over narration -- and Judd, in her first film, gives a subtle, delicate performance. [05 Nov 1993, p.C12]

(Morris's) strangest and most disturbing portrait yet.

What Happened Was . . . isn't always easy to watch. Like a Beckett play, it doesn't spare its characters, but strips bare their insecurities, their fear of rejection, their essential isolation and foolishness. [07 Oct 1994, p.C3]

The film doesn't explore the nature of ghosts, as it promises to initially, but it's fun to watch Del Toro confront death and fear with such energy and humor.

A zingy self-empowerment fantasy for kids.

The quality of acting in September, coupled with Idziak's images, warrant a visit.

A gentle, sprightly satire that pokes fun at these trendy communards but emphasizes their humanity and fallibility.

A breezy, occasionally funny spoof.

A big, gorgeous, sprawling swashbuckler that delivers its diversions in grand, uncomplicated fashion.

Does about as good a job of simulating that terror as it possibly could, but it's no competition for what we create in our mind's eye while reading.

It's a sweet, low-key and satisfying film -- and it deserves a heap of credit for treating its subject with humor and humanity.

Gentler in tone than the English working-class comedies of Mike Leigh (Life Is Sweet and High Hopes), The Snapper manages to draw laughs from the cheerful vulgarity of its characters without ridiculing them. [17 Dec 1993, p.C3]

The film's loose, scaled-down technique never turns gimmicky...but enhances the tension and intimacy of Rosetta's struggle.

What we have here isn't a disaster, exactly, but a very handsomely produced let-down.