Jay Boyar

A powerful film - the best and fullest expression of Mamet's brilliantly brutal sensibility to reach the movie screen. [02 Oct 1992, p.19]

This is getting a little monotonous, but yes, it's another instant classic. [24 June 1994, p.17]

Stone and Bogosian have gotten hold of a disturbing, even frightening, subject here, and they ride it for all they are worth. Talk Radio says that the depravity of the mass media is fed and surpassed by the roar of the maniac crowd.

The real force of Vertigo, though, comes from Hitchcock's intimate depiction of perversity. Seldom has obsession stood so nakedly revealed. [Restored version; 15 Nov 1996, p.20]

Although the filmmakers are subtle in their methods and unobtrusive in their interviewing style, they make their points forcefully.

Aliens is one of the most intensely shocking films to open in ages: Even if you think you've got the stamina for cinematic suspense, you may find yourself out in the lobby, midway, catching your breath. This film is also the best monster movie of the year and the best picture of any kind to open so far this summer. Put it another way: Aliens is the Jaws of the '80s.

If Larry Fishburne is like a Clint Eastwood who can act better, the new film is like a Dirty Harry movie done right. [17 Apr 1992, p.20]

The intensity of Caruso's close-to-the-vest performance in this absorbing, brutal crime movie suggests that he may have the makings of a big-screen star. [21 Apr 1995, p.29]

A thriller that grabs you even before the ironies of its plot kick in is a thriller you don't want to miss. No Way Out is that sort of movie, a thriller that's thrilling throughout.

What's different about this film is that it holds together better than Brooks' other movies. And in the end, it's somewhat sweeter. [17 Jan 1997, p.21]

For the first time on the big screen, Williams' whirligig wit is totally unencumbered - and it isn't just free, it's supercharged by animation.

Quite simply, Ran is a great, nightmarish motion picture.

With its delicate fabric, this film sometimes seems in danger of unraveling. But ultimately it holds together, partly due to Foster's fine, poignant performance and also because some of the characters surrounding Nell reflect aspects of her personality. [23 Dec 1994, p.23]

For those of us who will never go to the moon, watching For All Mankind may be as close as we'll come to fulfilling that ancient dream. If what the Hubble eventually sends back is nearly this splendid, it could actually be worth the wait. [17 Aug 1990, p.10]

The movie works the way Westerns have always worked: In clear, simple terms and with straightforward dramatic devices.

You buy the movie's premise because director Fred Schepisi evokes such a rich spirit of playfulness and romance that you want to buy it. [26 Dec 1994, p.D1]

Shelton's approach in Cobb is stunningly successful and also very funny, in a jolting, in-your-face sort of way. Instead of taking the usual sports-biopic tack of glorifying his subject, he digs deep into the dirt of the athlete's life and somehow comes up with a weird sort of anti-glory glory.

Director Rudolph keeps the pacing tight and the atmosphere emotionally charged, so that even when his experiment in storytelling doesn't quite work, Mortal Thoughts is still compelling. [19 Apr 1991, p.4]

It is certainly one of the best westerns ever made, and the best film of any kind to come out in 1969.

Director Carl Franklin takes a simple premise and treats it so straightforwardly that the result is jarring - at times, even powerful.

Paul Newman could win an Oscar for his strong, complex performance in The Color of Money. His Eddie Felson, so quick-witted and seemingly imperturbable in the early scenes, eventually drops his foxy pose to reveal some of the raw vulnerability of his Hustler days.

To fully appreciate Fantasia, it's best not to think of the animated sequences as visual adaptations of the music. Instead, think of the music as accompanying the images. [01 Nov 1991, p.28]

Get on the Bus turns out to be a better movie than Malcolm X. With the road-picture format Lee is free at last - liberated to set his own pace and follow his better instincts. [16 Oct 1996, p.E1]

It's a measure of Leigh's sensitivity that the big scene arises naturally, never threatening the delicate fabric of the narrative... And not only has Leigh grown as a storyteller, he appears to have acquired exactly the right amount of filmmaking technique to tell his story.

Visually imaginative, thematically instructive and thoroughly delightful, it takes us on a roller-coaster ride from innocence to experience without even a hint of that typical kiddie-flick sentimentality.

Bigelow's knack for fast-paced action, her skill at evoking a threatening atmosphere and her affinity with damaged people all come together in the daringly kinetic new film. [13 Oct 1995, p.28]

Mistress has a few weak patches, but they're directly tied to the production's funky charm, and without them, the film might not be half so engaging. All things considered, I wouldn't change one word. [27 Nov 1992, p.18]

Without mystery and glamour, Madonna may never make it as a star of regular movies. But for this dish-umentary, she's absolutely perfect. [17 May 1991, p.7]

No, this offbeat story probably wouldn't make it on Matlock. But it does make for a gripping documentary about a particular way of life - and of death. [05 Jun 1993, p.E3]

Not only does Slam strike me as one of the best films about being a writer I've ever seen, it is also the least sentimental coming-of-age movie to come along in years. [06 Nov 1998, p.19]

As good as the supporting players are, Cadillac Man is Robin Williams' show. He gives the production its pace, its zest and its heart. Without him, this movie is unimaginable. With him, it's consistently entertaining. Williams knows what every successful salesman knows: Sell yourself, and you'll sell the product. [18 May 1990, p.20]

A Shock to the System, a dark comedy with the structure of a thriller, is delightfully hard-edged. [23 Apr 1990, p.C1]

Profoundly moving. [24 Sept 1993, p.17]

Frankie & Johnny is no big deal, but it has plenty of laughs and it's appealingly romantic. The movie is a collection of small, trivial things that add up to something that is, while not important, at least entertaining. [11 Oct 1991, p.22]

By the end of the film, there's even something vaguely inspirational about our antihero's painful journey through the bowels of his self-created hell.

Prelude to a Kiss is a kind of fairy tale, but it's a fairy tale grounded in human experience. [10 Jul 1992, p.10]

The filmmakers should be praised for injecting a stark, sense-quickening drama into the current movie scene. Just say yes to this Rush. [13 Jan 1992, p.B1]

You may see a better movie this summer, but I doubt you'll see a funnier one. [7 June 1991, p.8]

Henry & June is a difficult, uncompromising work whose best qualities are not likely to be appreciated by all filmgoers. But it is, quite simply, the most overwhelming film about ultimate freedom to reach us in years. [19 Oct 1990, p.12]

A fast-paced thriller with a wicked bite and a sure sense of humor, it traps you in a web of suspense and makes you squeal with pleasure. [18 July 1990, p.E1]

This lush classic is funny, dramatic, thought-provoking and always, always, always romantic. [20 Sep 1991, p.43]

The movie contains Jane Fonda's first big-screen appearance since On Golden Pond (1981); if she doesn't quite find a character in Martha, she is nonetheless riveting. Anne Bancroft, too, is impressive. Finally, though, it is Meg Tilly who makes the movie live. Her performance, which works on both realistic and symbolic levels, allows you to believe in the story.

What's pleasantly surprising about Gilbert Grape is that director Lasse Hallstrom generally maneuvers quite deftly around his self-created obstacles. In its gently ironic, unforced way, his movie manages to be both uplifting and funny, with the laughs never really being at anyone's expense. [4 March 1994, p.17]

This lovely, tentative motion picture tells a captivating tale. [14 May 1993, p.19]

The idea behind Ruthless People is just about irresistible. Much of the fun of this comedy is in watching what happens as virtually everyone in the movie tries to double-cross or otherwise take advantage of everyone else.

This delicious, mystical Mexican drama keeps you in an almost constant state of stimulation. [11 June 1993, p.28]

What I like best about Husbands and Wives is that for the first time in a long time, Allen seems to be experimenting.

Witty, sharp and, ultimately, chastening, Ridicule is a terrific movie in the sinuous tradition of Dangerous Liaisons (1988). [31 Jan 1997]

Malle and Hare have created a devastatingly understated film about the ravages of passion.

There are so many terrific small moments to discover in The Commitments that there's no danger of ever growing bored. [14 Sep 1991, p.E1]

Fun-and-fin-filled feature-length Disney cartoon that revitalized the studio's animation department.

This latest Star Trek is a well-plotted, well-acted and consistently exciting addition to the popular movie series. [6 Dec. 1991, p.21]

Working from Blatty's own screenplay, director William Friedkin sets his own unhurried pace. That pace, at times, does seem a tad glacial, and that is the film's biggest failing. But unlike so many horror flicks that followed, this one really is about something. It's about several things, actually: coming of age and letting go, mainly, as well as getting sick and growing old. [2000 re-release]

Director Walter Hill (48 HRS., The Warriors) keeps things moving quickly while making sure that the story doesn't get lost amid the slam-bang action. And Hill's comic-book-style visuals are just about perfect for the material. [08 Jan 1993, p.20]

They all help Malkovich to do his thing, and a remarkable thing it is. That terrific performance of his just might be a selling point, after all. [16 Oct 1992, p.17]

What's special about Fly Away Home is the delicate yet unsentimental way that Ballard approaches the material. Working from a straightforward script by Robert Rodat and Vince McKewin, he seems to let the story tell itself. [13 Sep 1996, p.23]

In Bottle Rocket, the small scale and vague amateurishness (especially in the performances) are themselves rather endearing. They seem to go along with the screwed-up characters, as does the loosely structured plot.

My Cousin Vinny is a hoot.

Except for the political implications of the addition of Freeman's character (which he brings off gracefully) and some revisionism about the nobility of the crusades (which, in my opinion, is long overdue), Robin Hood: Prince of Thieves is just an adventure movie - which is basically what I like about it. The second half is stronger than the first because it's swifter and more action-packed. Robin's feats of derring-do are always (as Costner might put it) neat - the more improbable, the better.

Though this film version of James and the Giant Peach is far from a classic, it's both reasonably respectful of its source and consistently enjoyable in its own right. And it passes the acid test of children's entertainment. This movie remembers what fun is.

Presumed Innocent is a stylish, dark-toned movie with handsome photography (by Gordon Willis) and solid performances. Without exploiting the sensationalistic elements of the material, director Pakula creates a fascinating mood of impending disaster. If this movie isn't exactly exciting, it definitely holds the viewer's interest.

By the soaring standards of Mike Leigh's career, Career Girls (which opens locally today) is a minor work. But minor-league Leigh is better than major-league most other people, especially because he possesses the most emotionally sophisticated sensibility of any contemporary filmmaker.

If you're on - or even near - the film's wavelength, it's hilarious.

The movie doesn't paint a pretty picture, but it paints one that you sense is emotionally true. In the end, the Odones are heroes, not statues of heroes. You may not always like these people, but how can you help but admire them? [22 Jan 1993, p.E1]

Not everyone has realized this yet, but with Wayne's World and So I Married an Axe Murderer, Mike Myers has somehow become the first major movie star of the '90s. [30 July 1993]

Like the hero himself, the movie is larger than life - a horrific fantasy that gets carried away with itself as the mood builds and the tension mounts

Whether Carrey's fans will like it or not, the film is easily his best crafted piece of work to date. [14 June 1996, p.22]

The Firm and The Pelican Brief, both of last year, were solid entertainment. Now along comes the movie version of The Client - the best of the Grisham film trilogy.

For the most part, then, Tomorrow Never Dies is a straightforward action picture. And since the action is clearly and suspensefully staged, this unpretentious production turns out to be the best Bond flick in years.

Director Ivan Reitman isn't an especially careful moviemaker, though this latest film is structurally superior to such previous efforts as Ghostbusters, Stripes and Meatballs. He's still got a lot to learn about giving dramatic points the proper weight, and his visual sense is shaky. But for all his shortcomings, Reitman seems to have something that other, more elegant directors lack: the ability to get stars to go a little crazy. The enjoyment we get from the goofy performances in his movies is something rather rare.

Much as I like Beauty and the Beast, I think I would have preferred it if its dark parts had even been darker. The brooding beast is a fascinating character to consider, and his fearsome battle with a vicious pack of wolves is one of the most powerful scenes in the movie.

It's an efficiently crafted psychological thriller that keeps you guessing - even when you're sure that you have all the answers. [08 Feb 1991, p.6]

Ending The Paper cleverly - in the spirit that it begins - doesn't appear to have occurred to Howard and the Koepps. And that disappointing ending is certainly the movie's loss. [25 March 1994]

Working from a smart, sassy script by James Toback (The Pick-Up Artist, The Big Bang), director Barry Levinson (Rain Man) has fashioned an elegant adult entertainment that is, by turns, dramatic, funny and sexy. It's also a movie with too many loose ends and undeveloped themes, but Levinson's knack for smoothing out unruly material serves him well in this case.

The Last of the Mohicans isn't a classic, but it's one of the most exciting action pictures to come along in recent memory.

Navy Seals stands out among this summer's violence-oriented pictures as the only one that doesn't leave your brain feeling like mashed potatoes. There are plenty of exploding bombs in this picture, not to mention various other forms of destruction...But the action is orchestrated so sensitively that it's both aesthetically satisfying and emotionally resonant. There's a texture to the violence in Navy Seals that's completely absent in this summer's kaboom cartoons.

Putting up with weeks - or even months - of such media-fed psychobabble is a big price to pay for a couple of hours of defiantly unwholesome entertainment. The Getaway might just be worth it, though.

The Big Easy is as atmospheric as they come, but -- surprise! -- it's also sharp and swift. Plus, it has ample amounts of chemistry -- the steamy, sexy kind.

The movie's sneaky intelligence pokes out in surprising, amusing ways.

This picture isn't Shakespeare for the ages, and purists, of course, must be scandalized. But it isn't Shakespeare for the masses, either. This Richard III is only for very particular tastes. To like the film you have to love Shakespeare, but you can't worship him. [16 Feb 1996, p.22]

Imagine the most exciting parts of The Fugitive but filmed with real moviemaking brio by director Brian De Palma (The Untouchables). [12 Nov 1993, p.20]

A creep-out with style to spare. [16 Jan 1998, p.19]

The boldest of Burton's creatures is bogyman Oogie Boogie (Ken Page), a burlap sack of vermin who terrorizes Santa (Ed Ivory). His big boogie-woogie number - a day-glo dance of death called ''Oogie Boogie's Song'' - is so horrifyingly grand that it threatens to steal the show from even the cleverly phantasmagorial ''This Is Halloween'' and the darkly bright (yes, I know that sounds impossible) ''What's This?,'' which pop up early in the film.

With its simple characters and episodic narrative, Kiki's Delivery Service has an unpretentious fairy-tale charm. [04 Sep 1998, p.29]

The movie has a lot going for it, including an array of imaginative special effects and Fox's expertly calibrated performance. [19 July 1996, p.17]

Harrison Ford - that most decent of decent men - helps to carry the new film on his broad shoulders. With his blunt, Everyman features and sympathetically furrowed brow, he comes off as such a solid, good guy that it's impossible not to care about his upstanding character.

This is the sort of breathless joyride that we expect - but don't often get - from a summer movie. [24 May 2000, p.E1]

This may be the most truly disturbing movie to come along since Lynch's Blue Velvet of 1986...But for those who are willing to go the distance with Lynch, the return trip to Twin Peaks is well worth the trouble. [31 Aug 1992]

Fresh is easily one of the best of the new ''hood flicks'' because it doesn't neglect the basics. There's a story here - a good one - and characters you can connect with.

Cry-Baby is hipper and funnier than any Elvis flick ever was, but in many ways it's not so different from Viva Las Vegas or Blue Hawaii.

Looking around, you realize that only so much is possible in this town. Fortunately, the limited range of possibilities includes a film like Gas, Food, Lodging. [8 Jan 1993]

There probably isn't anyone working in movies today who could have done more with this material than writer-director Paul Mazursky does. In Down and Out, he finds humor in those contemporary issues about which most people haven't quite resolved their feelings. This can lead him into dangerous territory: AIDS, anorexia, homosexuality and even "We Are the World" all figure in Down and Out's unusual comedy. [21 Nov 1999, p.60]

It's a lot of fun to watch - over two hours of thrills, spills, elaborate sets and special effects, all tied together by a pleasingly varied (and lighter than usual) musical score by John Williams.

The music becomes an aspect of Washington's performance - as does, in a satisfying way, everything else in the film. [03 Aug 1990, p.7]

The best monster movie to come slithering out of the muck since Jurassic Park. Species is an exploitation picture while Jurassic Park was mainstream, but the new one is lots of fun if you're in the mood for B-movie thrills. [07 July 1995, p.19]

Outbreak is sharp, sometimes-exploitative entertainment that does its job with great efficiency.

Wild Bill is uncompromising almost to the point of orneriness. Director Hill takes you from one incident to the next, trusting you - or, rather, expecting you - to work out the connections among them. [01 Dec 1995, p.21]

The action in Terminator 2 is edited for maximum suspense, and much of it is mounted on such a grand scale that little in movie history comes close. (Scenes in last summer's Die Hard 2 did, but they lacked the finesse of the new film).