Gene Siskel

In film circles there's a name for pictures like Lifeforce. Film Comment magazine has dubbed them guilty pleasures, movies you're embarrassed to admit you like. Maybe somebody spiked my popcorn, but I can't deny that I liked Lifeforce.

Sleeper has plenty of bald spots, lacks the inspired silent comedy of Take the Money and Run, but, these days, comedy beggars can't be choosers.

Switch is highly recommended for Barkin's work, which has to be considered on a par with Steve Martin's similar comic turn in All of Me. [10 May 1991, p.C]

Sylvester Stallone and Billy Dee Williams star in a thriller about New York detectives trying to capture an international terrorist. The story is full of holes but compelling nevertheless because we do grow to hate the terrorist and want him stopped. [19 June 1981, p.8]

Ironweed is more than a chance to watch two multimillion-dollar actors play bums. Each character has a particular story; each is given a dignity that seems honest in the context of a worldwide Depression in the late '30s, and at no time are we certain what the future holds in store for either character. [12 Feb 1988, p.A]

This movie doesn`t have any greater meaning than offering a lot of amusing, troubling, quirky behavior. But that`s reason enough to see it.

So if you're in the market for a "family" film, Natty Gann qualifies. But that doesn't mean it's a boring, namby-pamby entertainment. Rather, it's that Natty, in her cap and jacket and determined look, is a character with universal appeal. [15 Oct 1985, p.2C]

More explosive laughs from Leslie Nielsen, Pricilla Presley, and friends (George Kennedy, O.J. Simpson) in another madcap police farce that is often so funny you lose track of the terrorist story. Alas, the comic pace is not sustained to the finish, but maybe it couldn't be. [18 Mar 1994, p.C]

The biggest surprise with On Golden Pond is that the best performance in the film is not turned in by a Fonda. Rather, it is Katharine Hepburn, in a performance without gimmicks or "great scenes," who communicates so much of the film's emotional power as a portrait of the serenity and anger associated with old age.

Io its credit, the film has a surprising and likely to be controversial ending. It creates moments of genuine tension that take us beyond the issue of who is more at fault and into the deeper question of what does a lifetime of commitment really require?

A pretty good how-to movie as far as the CIA combating terrorism is concerned and a very good movie in terms of explaining why Harrison Ford is one of the most compelling leading men. [5 June 1992, p.C2]

The dance sequences are sexy and energetic, more than compensating for a love relationship in the film that is thoroughly illogical and wooden. [22 July 1983]

A thoughtful, exceedingly well-produced science-fiction drama about a scientist (Charlie Sheen) who becomes convinced that he's received radio signals from alien beings. Trying to locate them, he runs into a lot of official government opposition, and his pursuit of the truth takes him (and us) to unexpected places. Sheen is not the most appealing of actors, particularly wearing a Fu Manchu beard, but director Twohy carries us through the story with high energy nonetheless. [31 May 1996, p.B]

In lesser hands, Mortal Thoughts could have been another well-intentioned, star-studded lesson about how women tolerate and rebel against physical abuse. But as directed by Alan Rudolph, the film is more of a nightmare of half-baked schemes hatched by dim-witted characters. [19 Apr 1991, p.C]

Despite the holes in the script, Fatal Attraction writer James Dearden moves the action along competently and has two compelling young actors in Dillon and Young. [26 Apr 1991, p.C]

An offbeat, genial western parody that has some surprisingly effective low-key humor. [30 Aug 1991, p.C2]

A great movie? Hardly. Stallone as the next Brando? You've got to be kidding. A nice little fantasy picture? Maybe. That's the hype and reality of Rocky, the flatout schmaltzy saga of a Philadelphia club boxer who, on New Year's Day of our Bicentennial Year, gets a chance to fight for the heavyweight championship of the world. . . .

Usually I am so turned off by mayhem that I turn away from the screen during knife attacks and the like. But for some strange reason I wasn't sickened by the violence in Dawn of the Dead. Even when one zombie gets his head lopped off by a helicopter blade...Dawn of the Dead has some staying power. [4 May 1979, p.3-3]

Featuring an all-black cast, this little film is a revelation, primarily because it provides black faces with the most natural dialogue they've had in years. She`s Gotta Have It is neither a crime story nor a heavy message movie, and the conversations in it are therefore free of the shackles of most minority-oriented stories.

Both Pacino and Barkin are quite good playing battle-scarred veterans of mature relationships. Just like New Yorkers who lock their doors, these two characters have locked their hearts. This is Pacino's quietest and best performance since The Godfather Part Two. Credit director Harold Becker for helping to keep Pacino from spitting his way through another role.

Petersen is to be congratulated for creating a solid character out of a film that likes its decor and soundtrack more than its actors. [1 Nov 1985, p.A]

Testament does manage to convey in its surprisingly quiet and non-theatrical way the very point that its creators surely wanted to make: that human stupidity can destroy the world, but it cannot erase human dignity. [08 Nov 1983]

Power is cast exceedingly well, with director Lumet being one of the best-connected directors in New York. Power gives us the likes of Gene Hackman, Julie Christie, E.G. Marshall, Fritz Weaver and Beatrice Straight in supporting roles! [31 Jan 1986, p.30N]

Finally, a word about John Candy, the Second City-trained performer who has worked with great success on the "SCTV" shows. Candy, the plump one of the troupe, is more than just a jolly fat man in "Stripes." He becomes one of Murray's allies, because his comic persona allows him to be as sharp-witted as the next man. This is a switch, because the fat man in a comedy usually is the butt of a lot of physical humor...The point is this: Candy deserves to star in his own movie. He's that funny.

A classic play has been reduced a decent movie. It's a shame it couldn't be as good as the play; it's a small pleasure that it's as entertaining as it is. [20 Dec 1985]

The more familiar you are with Menace II Society, Poetic Justice, and Boyz N the Hood, the more you will enjoy this picture, which has a lot of big laughs. [19 Jan 1996, p.B]

For a while the actors seem intimidated by the `50s references, but the film eventually develops a musical energy that carries the day. Amy Locane shows promise as the virtuous girl who falls for juvenile delinquent Johnny Depp.

Nobody's Fool was written and directed by Robert Benton, and he does a better job with his camera than with his pen. The town of North Bath is perfectly captured with rusting signage, a classic diner and bar, and dirty snow everywhere. We never feel like Newman is slumming in this town, and that is also a measure of his performance.

DePalma`s camera is relatively restrained-for him-and the result is a small movie that looks more like an outdoor stage play than an exercise in freewheeling combat. Penn`s performance has resonances of Robert Duvall and Robert De Niro in their Vietnam films; Fox gains credibility as the movie progresses.

Soapdish runs on longer than necessary, and not every scene is as funny as one would like, but it's funny enough to recommend. [31 May 1991, p.C]

The film with the year's funniest title turns out to be a basketball comedy about the Pittsburgh Pisces team transformed onto a winner by a young boy and an astrologer. Real-life basketball star Julius Erving stars in a trivial but entertaining picture filled with rhythm and blues pop music.

A messy but nonetheless compelling movie.

A stylish, violent thriller about a sexually frustrated woman (Angie Dickinson), whose fantasies lead to a murder mystery. Directed by Brian De Palma ("Carrie"). Effective, but not for the kids. [1 Aug 1980, p.4-10]

It's an old, cliche-ridden story made fresh by Middler's energy.

In short, Rambo is very good at what it does, but what it does isn't always that good. [22 May 1985, p.1C]

A freewheeling, up-with-kids-down-with-high-school picture featuring punk rock stars, The Ramones.

No doubt about it: Top Gun is going to be the hit that "The Right Stuff" should have been. They are not in the same class of films, but this much must be said: The aerial sequences in Top Gun are as thrilling -- while remaining coherent -- as any ever put on film.

Frankie & Johnny manages to work as a sudsy romantic picture about big city loneliness despite an awkward performance by Al Pacino in the role of a hash-house dispenser of wisdom.

This is a very strong midlife-crisis movie about women. [28 Sep 1990, p.C]

Species is an Alien ripoff, but that doesn't make it a bad movie--not when it contains a plausible premise, a great-looking female villain, a wonderful supporting cast of good guys, and genuine tension. Only a routine chase sequence in sewer tunnels limits the excitement at the end. In other words, we're talking about a solid, surprisingly intelligent action picture here.

Seagal is a solid, whispering presence, but he is particularly well served by a special-effects team that provides him with one exciting visual adventure after another. Along with "Species," this is a perfect summer action film experience.

In this very funny Rodney Dangerfield comedy, there has been an important shift in Rodney`s entertainment persona, a shift that has made this small film a monster hit.

Manhattan Murder Mystery is of absolutely no consequence save for the regular laughs it provides. However, it provides enough so that even the most virulent Woody-haters may smile, if they can bring themselves to the theater in the first place. [20 Aug 1993]

A vital film about a bunch of youngsters who view break-dancing as a way out of their dead end lifestyle. For what is essentially a musical exploitation film, Breakin' is surprisingly filled with more human moments and dance scenes than violence or sexuality. [08 June 1984, p.12]

A strangely powerful yet meandering film that takes a long time to make its point.

The ensemble performances are of such a uniformly high caliber that our interest in the story never wavers.

The film would be funnier and more provocative if it took a stronger stand on one side or the other, but Howard chooses to hedge his bets, selecting an ending that celebrates brotherhood more than the strongly hinted- at notion that American workers would do well to get off their featherbedding backs.

The best thing I can say about "Prelude to a Kiss" is that it seems fresh, daring its talented performers to play a couple in love. In 1992, that seems very bold. [10 Jul 1992, p.C]

A genial if predictable romantic comedy about a couple of mismatched ice skaters who come together to try to win an Olympic medal in pairs figure skating. Oh, yes, they also fall in love. What results is sort of "Dirty Dancing on Ice," with Moira Kelly as a wealthy, spoiled, teenage ice princess with her own rink, and D.B. Sweeney as a rough-and-tumble hockey player at the end of his career. Directed by Paul Michael Glaser - yes, Starksy - directs cleanly, but the chemistry between the co-stars makes it work. [27 March 1992, p.C]

Not as worthless as you may have heard. [10 Sept 1993]

A slightly more light-hearted version of the "Shine" story. [4 December 1998, Friday, p.A]

The movie does command our attention because Hines and Baryshnikov, through their dancing, manage to create very real and living and hurting characters. [22 Nov 1985]

Richard Pryor and Cicely Tyson star in a thorougly likable comedy about an ex-con and a schoolteacher who take a bunch of ghetto kids to a farm in Washington. Some foul language gets in the way of this being a film suitable for the entire family.

Ford`s character is disoriented from the very beginning of the movie, suffering from jet lag, and you can view the movie as one long tourist`s nightmare. Although the suspense never reaches the level of Polanski`s finest work-there are plot holes that are enormous-the film is well made technically and has so many twists and turns that one can`t help but want stick around to see how it turns out. In other words, you have just read a guarded recommendation.

Women get the short end of the stick in the story, but there are big laughs mixed with some pain about growing up privileged. [7 June 1991, p.C-2]

Despite its rather arrogant title for a first film, Remo Williams: The Adventure Begins, a series could lurk inside this drawnout, but often spectacular and funny adventure film.

The comedy is unevern, but more gags work than don't. [8 May 1987, p.7-C]

The Fourth Protocol is full of seemingly inside information about the techniques of spies. And although the film rarely develops as much sustained tension as the adaptation of Forsyth's "The Day of the Jackal," The Fourth Protocol does have Caine as an anchor of credibility as well as solid performances as Russian agents by Joanna Cassidy and Brosnan, who looks here like he would have made a fine James Bond. [28 Aug 1987, p.A]

Watching the systemized corruption of Q&A is like watching a traffic accident in slow motion: You can't take your eyes away from the broken bodies and spirits.[27 Apr 1990, p.C]

Succeeds, just barely, on the good will of its stars and the sumptuousness of its Western locations.

These extremely attractive characters deserve a better finish. [8 May 1987, p.7-D]

The film has an easy target in poking fun at rural folks, but it also has a warm message about individuality. It's also beautifully photographed. [8 May 1987]

Arachnophobia marks the directing debut of Frank Marshall, who has worked as Steven Spielberg's producer on many films. He has learned one lesson from Spielberg very well-namely, that getting the small details right about contemporary life can make the most fanciful story seem credible. He also has cast his horror film very unusually well.

The film works very well, providing lots of laughs, in its first half, setting up the Bill Murray character and his callousness. For a Christmas Eve special he wants to staple antlers on a mouse. [25 Nov 1988, p.A]

Shoulders sloping, not quick on the uptake, utterly agog at the adult world of sex and high-powered business, Reinhold's character is a wonder to behold. And Fred Savage is completely inoffensive as the officious boy-man, which is quite an achievement for a child actor. [11 Mar 1988, p.A]

For a while, I resented the sexist, cruel behavior in the film, much of it revolving around the hazing of underclassmen. But gradually, I saw the movie turn into a brash expose of stupid adolescent traditions. [24 Sept 1993]

The River is nothing more than a conventional, albeit pretty, melodrama. [11 Jan 1985, p.4N]

I heard some sniffling among some audience members, but the story goes for one situation that is guaranteed to produce sympathy. Aside from that, we never accept Midler in her relationship with John Heard. Only her occasional singing redeems an otherwise emotional roller coaster that travels in slow motion. Barbara Hershey is wasted in a boring role.

What`s lacking is a clear conception on Jewison`s part as to what this film is about.

At Close Range is impeccably photographed, and its other technical credits are fine, too. But this excellence serves a dubious, confused cause, and on that basis the film cannot be recommended.

The movie could reasonably be rated S for slow because director Alan Parker seems more concerned with style and with hiding the film's big mystery than with pacing. We develop no empathy for the Rourke character, and so watching the movie, as attractive as it is physically, is like riding on a slow conveyor belt. [06 Mar 1987, p.A]

Guilty by Suspicion isn't a bad movie, but it isn't compelling entertainment either. [15 Mar 1991, p.C]

Our Flick of the Week is The Bedroom Window, which begins as a gripping, Hitchcock-like thriller about an innocent man wrongly accused, but then turns into an unintentional laugh-a-minute with a preposterous conclusion. It's a shame that the film couldn't sustain its tension, because in some ways it is the best traditional thriller since "Jagged Edge." [16 Jan 1987, p.A]

The character played by Ryder is really the centerpiece of the story, and she is the best part of this slight story...The rest of the movie is a fairly standard portrait of small-town life, with characters in more pain than is typical of such films. [12 Oct 1990, p.C]

Pale Rider may be a risk simply because westerns are not in vogue right now at the box office, but fresh and challenging westerns with Clint Eastwood always will be in vogue.

And yet if Re-Animator offers only a few laughs, that still puts it smiles ahead of George Romero`s awful ''Return of the Dead,'' the third in his zombie series, which suffered from tired blood. At least director Gordon`s ghoulies drool on naked women and decapitate each other with shovels. Hoe, hoe, hoe.

Although the film isn't an empty picture, it is too much of a good thing. Voight delivers a wonderful speech to Roberts about survival, but it's only one of many such monologues. Similarly, Roberts is tiring in his frantic reactions.

The point is: When Sweet Dreams' as it is now constructed, is over, we remember and are intrigued more by Charlie Dick than by Patsy Cline, played by Jessica Lange in a performance that comes up short when necessarily compared with Sissy Spacek`s tour de force as Loretta Lynn in ''Coal Miner`s Daughter.''

Coppola has raised the stakes, promising the definitive version of the vampire story. What he has created, however, is fresh and original yet boring, an exercise more in art direction than storytelling. [13 Nov 1992, p. C]

There's really nothing wrong with the movie; it delivers exactly what Arnold's audience wants, but I'm not part of that crowd. I'm tired of jungle fights and creatures with weird fangs. [12 June 1987, p.A]

The major problem with the sequel therefore is really the script, which was not written by Diane Thomas and which, coincidentally, did not meet with immediate approval by Turner. And so instead of surprising us in the rapid-fire manner of the original, ''The Jewel of the Nile'' takes people we know and runs them ragged through a new but unappealing location--the Arab desert--as they get caught in the middle of a holy war that doesn`t have much entertainment value given the recent number of incidents involving real-life terrorism in the area.