Joe Holleman

Almost as good as the first film, it has James Stewart in one of his earliest roles. [02 Aug 2005, p.E1]

Wilder consistently infused his films with wit and intelligence, offering comedy in his dramas and drama in his comedies. And Stalag 17 is a shining example. [28 Mar 2006, p.E1]

So I'll just say this: The Big Lebowksi is an excellent movie - and damn funny.

Greene's wonderful dialogue, often oddly contradictory, adds to that tantalizing sense of imbalance. [5 Aug 1999, p.G3]

It's shocking that Grant wasn't even nominated for an Oscar. [1 March 2005, p.E01]

Wide Awake is a children's movie that does not rely on special effects, computer-generated trickery, bathroom humor, slapstick violence or inappropriate adult situations to satisfy its audience. [03 Apr 1998, p.E7]

A slight step down from the first two, but still very good. [02 Aug 2005, p.E1]

Although viewing this movie leaves you raw emotionally, it is a powerful testimony to one family's unwavering love and willpower, captured splendidly by Susan Sarandon, Nick Nolte and director and co-writer George Miller. [27 Jan 1993, p.5G]

Director John Boorman (Deliverance, Hope and Glory) stretched the limits of 1960s cinematic storytelling with his nonlinear plot construction, experimental camera angles and psychedelic flashbacks. While some of it seems a bit trite by today's standards, it was rather innovative at the time. [05 Jul 2005, p.D1]

If you're looking for a political message, either for or against U.S. involvement in Afghanistan, this is not your movie. The directors were satisfied with telling us about a group of courageous, honorable young soldiers - a salute these men richly deserve.

The Last Days manages to accomplish something even those other esteemed works do not: It melds meticulous historical accuracy and rare film footage with an achingly human spirit provided by five survivors. And all this is delivered in a fresh, concise manner. [12 Mar 1999, p.E3]

School Ties offers a moving and uncompromising look at religious intolerance, narrow-mindedness and hatred. And although this movie is set in a prep school, it has more in common with ''Gentlemen's Agreement'' than with ''Dead Poets Society.'' [19 Sept 1992, p.7D]

Everything you would want in a summer action-suspense movie - and just a little bit more. The movie delivers enough thrills to satisfy all but the most hard-core adrenaline addicts. And several touches, especially the lead performance of Harrison Ford, elevate this film above the standard summer suspense offerings.[9 June 1992, p.4D]

There is much to like about this film, good performances and writing, enough true laughs for the comedy label and enough true love to keep the romance fans happy. To top it all off, the soundtrack uses Tony Bennett and Frank Sinatra at all the right moments. Try to leave this movie without humming one of the tunes on the way home. [29 July 1994, p.5F]

An entertaining and sometimes exceptional look at the short life of the man who singlehandedly brought about the boom of martial arts in this country. Starring Jason Scott Lee (no relation), "Dragon" covers Lee's life from his early days in Hong Kong to his final scene from "Enter The Dragon," Lee's only big-budget American movie. [12 May 1993, p.6F]

My Cousin Vinny would have been a moderately funny movie in any case. But with Joe Pesci in the leading role, the movie escalates several notches to a rough-and-tumble, exciting comedy and proves that Pesci is one of the most versatile actors in the business. [19 Mar 1992, p.6E]

Most of the credit for this successful effort goes to Miller, who simply pointed a camera at Levitch for hours and stayed out of the way. This laid-back direction helps Miller avoid that self-conscious "documentary" seriousness, edgy shots and editing that tells the audience that this is all so very important. [18 Dec 1998, p.E3]

The dialogue still sparkles, but the story is a bit weaker than the previous editions. [02 Aug 2005, p.E1]

This 19th Bond film has all of the required scenes, lines, gags and gadgets to keep Bond fans pleased - as well as a few new twists to update and energize it. [19 Dec 1997, p.E3]

HOW FUNNY CAN a movie be when it consists of stupid jokes, dreadful puns and stale sight gags? Pretty funny, actually. [21 May 1993, p.3G]

Depp shows again that he truly understands Thompson by delivering a nuanced performance that is remarkably different, but subliminally similar, from the wonderfully outrageous turn he provided in "Fear and Loathing in Las Vegas."

A solid remake of Victor Hugo's classic about a man who steals a loaf of bread and the police inspector who hounds him for years because of it, with Liam Neeson and Geoffrey Rush. Director Bille August's focus on the love-story angles blurs the epic messages about freedom, honor and justice. [07 Jun 1998, p.C6]

Even after all the problems are discussed, a de Palma thriller at less than full speed is as good or better than most directors can turn out with their foot to the floor. [11 Aug 1992, p.4D]

It breaks no new ground, offers no ingenious plot twist and makes no unique character insights. But who cares when the movie is so much fun. [02 June 1992, p.4D]

The rich performances from Foster and Gere and the steady direction from Jon Amiel ensure that love is all you need. [09 Feb 1993, p.4D]

More damaging is Lurie's conspicuous "red state" rant, as he makes sure that every prominent guy in this film - save for the screenwriter and the black sheriff - fits all of the Southern stereotypes. That doesn't make it a bad movie, just one that is something less than Peckinpah's original.

THUNDERHEART, a murder mystery set amid the American Indian movement on Sioux reservations in the 1970s, has its heart in the right place. But except for a few scenes, the thunder is missing. [7 Apr 1992, p.2D]

Without Limits is best when it's on the track. When it goes off the track, it sometimes does just that. [13 Oct 1998, p.E3]