Gary Arnold

It's a beautifully composed and tautly engineered production, a model of trim and attractive genre moviemaking. This movie looks marvelous. Hyams and his cinematographer, Richard Hannah, seem to be experimenting with some form of enhanced lighting that gives the color images extraordinary vividness, a very fine grain combined with a sharp, hard-edged focus that produces a far more expressive three-dimensional illusion than 3-D. The effect is especially breathtaking. [5 Aug 1983, p.C6]

Splash betrays a slightly drippy side, but by and large it's a refreshing plunge into unabashed romantic fantasy and not to be missed for the sake of John Candy, who hits the screen like a playful fat diver cannonballing off the high board. [09 Mar 1984, p.D1]

An admirably crisp, incisive counter-terrorist thriller, the most proficient and entertaining movie of its kind since Richard Lester's Juggernaut.

Perhaps the most satisfying and endearing aspect of The Hidden Fortress at this juncture of movie history is that it so persuasively lends meaning to a high adventure format, using the stimulation to enhance ideals of individual valor and group solidarity.

While you don't come out of this movie feeling pleased, you may come out feeling mysteriously affected, muttering to yourself, "This one is on to something . . ." [19 Nov 1981, p.C15]

Not Without emerges as a remarkably compelling, timely biographical melodrama about as painful a case of sexual and marital betrayal as one can imagine.

Between the splendid cast and the unsavoriness of the period details, True Confessions generates so much absorbing human interest and persuasive texture that the miscalculated plot seems a minor letdown.

Arthur is one of those rare contemporary entertainments that can be used to contradict people who habitually complain, "They don't make 'em like they used to!" This time they have. [17 July 1981, p.B1]

Despite its gentility and evasiveness, Julia may have come much closer to the truth about Lillian Hellman on the strength of Jane Fonda's edgy, persuasive performance, which reveals an intelligent woman who couldn't feel more unsuree of herself or less like a conquering heroine.

The most attractive and persuasive movie about ballet performers ever created for a mass audience.

Making a scintillating feature directing debut at the age of 30, Mastroianni reveals a special knack for juxtaposing funny and frightening stimuli, recalling De Plama and Steven Spielberg at their most provocatively amusing.

George Romero has done it again. Martin, an eerie, sardonic updating of the traditional vampire legend, should secure Romero's reputation as a modern master of the horror film. [10 May 1978, p.B1]

Cheech & Chong have adapted their stoogey characters and satirical burlesque of the drug culture "life style" to the movies with remarkable ease and assurance. They seem the freshest and most imaginative comics to seize a creative hold on the medium since Woody Allen emerged more or less confidently in "BANANAS." [5 June 1981, p.D1]

Despite a lull here and a lapse there, this superproduction turns out to be prodigiously inventive and enjoyable, doubly blessed by sophisticated illusionists behind the cameras and a brilliant new stellar personality in front of the cameras -- Christopher Reeve.

An unusually imaginative and adroit but also self-conscious remake, which transposes the setting from a disarmingly serene small town called Santa Mira to a systematically ominous, threatening San Francisco.

Against all odds and prejudices, Cheech and Chong seem to get better and better. Their new film is a vulgar, zany kick. Cheech and Chong's Next Movie decisively confirms the flair for movie comedy that the pair demonstrated so disarmingly in "Up in Smoke." Objectionable as their raunchy sense of humor and simple-minded, potheaded characters may be from a socially responsible standpoint, Cheech and Chong transcend the objections. [19 July 1980, p.B1]

His witty, endearing performance in the title role of Hal Needham's terrific new pick-me-up, Hooper, a rousing and sweet-tempered sentimental comedy about the professional vicissitudes and fellowship of movie stuntmen, should finally secure Reynolds a preeminent position in the affections of contemporary moviegoers.

Belushi also controls a wicked array of conspiratorial expressions with the audience. His smoldering pouts, crazed gleams, elevating eyebrows and erotically-contended smiles generate gleeful rabble-rousing excitement. And he can seem irresistibly funny in repose or invest minor slapstick opportunities with a streak of genius.

There's no doubt about Burt Reynolds' skill. Starting Over finds Reynolds at a level of proficiency that approaches the awesome. [05 Oct 1979, p.B1]

One of the best little slice-of-contemporary-Americana pictures to emerge from Hollywood in recent years. [01 July 1984, p.F1]

"Grease 2" is the most serendipitous sequel in recent memory. It is an ingratiating, jubilant improvement on a crummy original.

Shoot the Moon leaves you with more than fresh respect for Parker and Keaton. It also suggests that American family life has just begun to be depicted with true candor and sensitivity on the contemporary screen. [19 Feb 1982, p.D1]

Cox gives the denizens of Edge City wacky ways of expressing themselves whether they're principals, passers-by or disembodied voices. [14 Sept 1984, p.C1]

Ironically, Personal Best emerges as one of the few sexually provocative movies that also manages to keep sexuality in a sane perspective...Personal Best is amusing and endearing because it represents a genuine expression of fondness for girl jocks. [26 March 1982, p.C1]

It manages to preserve much of the charm and romantic fantasy that worked for its predecessor, the 1941 crowd-pleaser Here Comes Mr. Jordan, while freshening up some of the settings and details and tailoring the roles to a different cast. [28 June 1978, p.E1]

Steve Rash directs the firm in a clean, observant and confidently transparent style - making an impressive debut after several years of TV pop-music specials - and demonstrates a flair for expressing Holly's appeal. [18 Aug 1978, p.B1]

Candleshoe isn't immobilized by wholesomeness, as Disney movies go, it's unsually spirited as well as pleasant. [11 Feb 1978, p.E1]

One may feel limitations on the dramatic side, but Bridge is an unqualified pictorial achievement.