G. Allen Johnson

What a cast! What a waste!

The level of sexual tension and general creepiness as Chahine's character becomes unhinged is more intense than one would expect from a movie made in the 1950s under a totalitarian regime. [04 May 2017, p.E7]

Fallen Angels is proof that Wong will try anything, and the result is an eclectic mix of images and disjointed editing, sounds and rhythms that are at times as powerful as any piece of filmmaking likely to be seen all year. It can also, every once in awhile, be tedious and trying.

It's downright boring.

Happy Together is Wong's most fully realized work. It is a pleasure to watch an interesting mind feel his way, and the result is something more than just a passing fancy.

What's Christmas Day without a good serial killer movie?

A weird, wonderful and funny work that stands as a true original. As if that weren't enough, director and co-writer Anderson has given Bill Murray his best role in years.

"The Big Sleep" and "The Maltese Falcon" echo loudly throughout.

If only director Luis Llosa and his cast could see the joke and seize upon it; instead, like its computer-morphed snake, the film doesn't have a clever bone in its body.

It's also troublesome that Murphy, a generally charismatic actor, is downright dull here. He and Goldblum are curiously flat in their line readings; they don't seem convinced by the story they're asked to act out, and with good reason.

A penetrating study of the subjectivity of truth and perception, changed cinema forever and inspired the phrase "the Rashomon effect."

The "coming out" genre in gay and lesbian films is really getting stale - the plots are as by-the-numbers as a Bruce Willis action flick - and Edge of Seventeen is hampered by not only predictability but by its shoestring budget (a coup, however, was getting Thompson Twins composer Tom Baily to do the score).

Few thrillers create as much sheer joy and happiness as Charade, in which Cary Grant spoofs his Alfred Hitchcock persona, Audrey Hepburn exudes her usual magnetic charm, and Paris is as scenic as ever. [18 Jan 2018, p.E4]

Salles' solid narrative is only deceptively simple; there is a lot of dimension and depth to this gentle, sometimes painful portrait of two wanderers.

Solondz's greatest success is the pederast, heartbreakingly played by Baker...Had Solondz reached that apex in the other stories, it would have been a masterpiece.

A wise and wonderful parable.

The writer-director has come up with a sumptuous, happy piece of fluff.

I'm not sure all of this works out as convincingly as Anderson intends in the movie's somewhat unsatisfying ending, but getting there is a wickedly enjoyable journey.

A sweaty-browed exercise in precision filmmaking, but one that doesn't cheat you with wisps of tension and the pretense of attitude.

An engaging, well-written film that is surprisingly gentle in tone and easily paced.

A downright dumb movie that, with its breathless pace, lack of character development and uninventive gags, might be torture for even the kids to sit through.

The Coens haven't been this sharp, focused and fluid since their first film. This is "Blood Simple's" promise fulfilled.

Degenerates in the second half.

It is filled with lavish battle scenes and sharply scripted intrigue, and is among Kurosawa's greatest triumphs. [17 Apr 2005]

Austin is funny, extremely funny, because he is so ridiculous, and because Myers is a brilliant mimic who, like Martin Short, knows how to do ridiculous.

Overall a well-played chess match of a movie.

A terribly bad movie, one of the worst of its kind in recent years.

The drawbacks to Little Voice might sink a lesser movie, but not this one.