Edward Guthmann

For music fans, there's great pleasure in hearing new audio tracks to "Sitting Here in Limbo," "Friend of the Devil" and more songs -- each one complete and unedited.

The Olsens' precociousness and sitcom-style mugging grate at first, but I found myself warming to their movie in its last half - thanks mostly to Alley, a crackerjack physical comic who's incapable of a flat or colorless note.

Loach and screenwriter Paul Laverty draw everything in simplistic, overstated terms. The good guys are pure and spunky, the bad guys bellicose and one-dimensional, the conflicts stripped of nuance.

There's tremendous maturity and skill in Felicia's Journey but also a sense of impending horror that's bound to repel some audience members -- even though the violence is all implied.

For all its flaws and vagueness, Safe is smart, challenging and provocative -- a film that gives you plenty to chew on, long after Carol's sad tale has wound down.

Mayron, who directed a remake of the Disney comedy Freaky Friday for TV, took on a lot with The Baby-Sitters Club, and the strain shows. She's got too many characters to establish -- several adults besides the girls -- and her movie feels under-rehearsed, as if she hadn't been given the benefit of preparation and wasn't allowed to get as many takes as she needed of most scenes.

Might be a blast of ridiculous fun -- the way truly bad movies tend to be -- if it weren't so noxious and reprehensible.

Unabashedly sentimental, it's meant to touch our hearts in profound and important ways, but misses the mark by drawing too deeply from a pool of schmaltz.

Hollywood warhorse Norman Taurog directed Elvis eight times and had a knack for dragging decent performances from the boy. [03 Aug 1997, p.34]

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 haunting, beautiful labyrinth that gets inside your bones and stays there.

Extraordinary.

Red is the best of the lot: warmer, more accessible, unusually generous toward its characters. A mystical tale of chance encounters and unexpected connections, Red uses a traffic accident as a springboard to discovery.

It's that dilemma -- a commitment to Orthodox life, the refusal to deny one's sexuality and the fear of expulsion once that sexuality is revealed -- that director Sandi Simcha DuBowski illustrates so powerfully.

They're great, every one of them, but the real joy of Little Voice is Horrocks: her impeccable evocation of a timid soul and that eerie voice that sounds so surprising coming out of her.

Wildly ambitious, unwieldy epic.

Superb documentary.

It's a bizarre hybrid: one part feminist screed, one part French art film and one part skin flick.

If your tolerance for Branagh's shtick and Woody's narrowness of focus is as low as mine, you can take solace in the director's joke on himself.

Isn't an awful movie. It's got two charismatic, albeit ill-served leads in John Cusack and Kevin Spacey, and it's got a sizzling, tear-it-up performance by The Lady Chablis, who brings such good-natured sass and suggestiveness that you hunger for more whenever she's offscreen.

Small kids ought to love this entry, but die-hard Muppet fans are likely to find it tepid and uneventful -- a minor addition to the Muppet canon.

It's smart and good-hearted and boasts an amazingly good score, but the film is limited by the very private nature of the man it portrays.

Pitt isn't a bad actor, but he's way out of his depth and never disappears into the character -- a selfish rogue who gets a jolt of enlightenment at the feet of the Dalai Lama -- the way a superior actor like Daniel Day-Lewis might have.

It's a bitter pill to swallow, featuring a quartet of unsympathetic characters and an unrelenting air of misanthropy.

Haneke directs Benny's Video in a cool, dispassionate style that matches the austerity of his subject, but keeps us at a distinct remove. And even though he introduces a faintly optimistic note in the film's last moments -- a hint at possible redemption -- his film is mostly a grim, downbeat experience. [01 Apr 1994, p.C3]

A listless, predictable effort, occasionally redeemed by witty lines and charismatic performers.

May provide a service by making gay issues innocuous and funny and more acceptable to a broader audience, but Rudnick's play-it-safe script and Frank Oz's antiseptic direction manage instead to trivialize the subject.

Director- writer Oliver Parker saps much of the juice from Wilde, slows the pace and directs his actors in an inappropriately naturalistic style.