Gene Siskel

Nearly everything that is right about Smooth Talk would have been impossible to obtain by conventional Hollywood film- manufacture. The film's appeal, including that of the performances, is in nuance and intermediate shades. That appeal is considerable, another reminder of the possibilities of the American independent film. [9 May 1986, p.43]

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]

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

Perfect for family viewing.

John Sayles has directed an authentic looking and sounding film, featuring cinematography by the great Haskell Wexler. [02 Oct 1987, p.A]

Director Maya Angelou, the celebrated author, makes an impressive filmmaking debut by pacing her story slowly enough to make Woodard's transformation credible. [25 Dec 1998, p.A]

But the biggest surprise is that Sinise steals scene after scene from Malkovich who has the flashier role. His work also has a quiet power, a tribute to the minimalist acting style that knows the camera can function as an X-ray if the characterization is true. [2 Oct 1992, p.C]

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.

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.

One of the most original, appealing offbeat American films in recent years.

It looks like director Parker, who can be quite ambitious (Mississippi Burning, Come See the Paradise), is coasting this time, merely reworking his big hit, Fame.

Griffith gives the fullest performance of her career; Weaver, the most likable, even though she's the villain of the piece. Michael Nichols directs his best film in years. [23 Dec 1988, Friday, p.A]

Based on a true story, the movie has a hypnotic, documentary like appeal despite outlandish performances by Crispin Glover as the ringleader of the kids and Dennis Hopper as a wacked-out former hippie who offers them shelter. River's Edge is challenging to watch if only because it doesn't lecture. It simply presents these young people as wandering, stoned souls; shows a few of them grappling with moral responsibility, and allows the rest to fail. As we leave the theater, we can't help but wonder how common their behavior may be.

It's an old lesson, but one well told with fresh faces in Mask.

I wish more had been made of the power of books versus the power of a studio's special-effects department.

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.

Does JFK capture the truth? Possibly, in a poetic sense. Is it a compelling film? Most assuredly. [20 Dec 1991]

A three-hour delight… The movie generates much of its power by being so life-affirming at a time when people feel nervous about the future. [9 Nov 1990, Friday, p.C]

A riveting adaptation of Scott Turow`s novel about a prosecutor prosecuted for murder. When this film works best, which is often, everything about it seems cramped and uptight and dark.

Prince is an exciting entertainer, an equal opportunity employer-especially when it comes to talented women-and his act is a physical tour de force. It's the next best thing to attending one of his concerts and sitting near the stage. [20 Nov 1987, p.A]

What's so funny about Down and Out In Beverly Hills is not its moral imperative to appreciate life's simple, enduring pleasures. True, we get that message, and we appreciate it, but we already know that motto even if we don't live by it. No, what's funny is director Mazursky's extraordinarily fine eye and ear for capturing the way the wealthy residents of Beverly Hills walk, talk, dress and think.

Real Genius is packed with characters and jokes, easily containing three times as many attempts at humor as other summer comedies this year. Frequent moviegoers will appreciate the extra effort. [9 Aug 1985, p.A]

F/X turns into a dazzling series of deceptions that border on being so topsy-turvy that one almost becomes frustrated with being fooled. But the script of Robert T. Megginson and Gregory Fleeman managed to stay on the right side of credibility and good humor enough of the time so that some rather obvious plot holes can be forgiven.

Mad Dog and Glory was directed by John McNaughton, who wisely lets many scenes run to the point of being uncomfortable, just like his characters are with each other. Everything about this movie seems fresh. [5 Mar 1993, p.C]

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

This middle portion of the picture becomes dangerously preachy, but just before we and Max are bored, director Miller returns Max to his roots, a screaming chase sequence through a desertlike Australian landscape.

A mesmerizing drama of sexual obsession...What makes Damage so special-and separates it from a typically American treatment of the same material-is that David Hare's script from Josephine Hart's novel gives equal time to exploring the female psyche in the film.

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]