John Petrakis

It is beautifully shot and the production design is first-rate. Another strong point is the presence of some excellent actors in small roles. Unfortunately, they all have to work opposite Van Damme, who keeps trying to be witty and smart, but still comes across as a bit of a lunk.

More a triumph of tone and texture than of storytelling....But what makes Don't Look Now one of the creepiest movies of all time is the artful way director Roeg leads us around blind corners and down dark alleys (both literally and figuratively), straddling the line between reality and mysticism. [4 May 2001, p.4]

Feels more like a music video than a serious look back at a time, a place and a very smart, funny and unconventional man.

The Dinner Game works thanks to some exceptionally strong acting, impeccable timing and rapid-fire delivery of many funny lines.

Unstrung Heroes is an extremely moving and surprisingly funny love sonnet to family, tolerance and the joys of individuality.... One of the best films of the year. [15 Sep 1995]

Breillat has long been fascinated with the idea that women are not allowed to go through puberty in private but instead seem to be on display for all to watch, a situation that has no parallel with boys. A Real Young Girl seems acutely aware of this paradox.

Has an assured air, rich with scenes of affection, anger and reconciliation, along with moments of unfeigned humor.

Pretty run-of-the-mill stuff. [20 December 1996, Friday, p.J]

The beauty of The Ballad of Ramblin' Jack lies in its ability to transform itself into a sad tale of loss, regret and missed opportunities while it also remains a solid documentary about a once-influential artist seeking his place in the sun.

One of those welcome visitors, a movie that turns out to be much more than we expected.

This new version is quite faithful to Conrad's novel, not only in content but also in tone. [13 Dec 1996]

Cats Don't Dance is a cinematic anomaly: an animated film that could have more appeal for adults than for children.

If you are offended by jokes about sex, sex organs, sex, bodily functions, sex, the L.A. riots or sex, you should probably stay far away. But if you're up to the challenge, you should find Fear of a Black Hat to be a clever piece of work-a nasty satire with savvy and sass. [17 Jun 1994, p.J]

It's not classic horror, but it'll do. [13 Jan 1995, p.18]

The animation itself is just OK. And the reworked script, despite some funny one-liners, is pretty much there just to pull the story along to its inevitable conclusion. [19 March 1999, Friday, p. A]

This is the debut feature for Columbia College graduate Gilio, and it shows great promise.

There is much that is hilarious about this bleak house of horrors, based on the real-life traumas of writer-director George Huang. Most of the humor surfaces early--including a clever opening restaurant scene--as Buddy (Kevin Spacey, in a terrific performance) gives his new assistant, Guy (Frank Whaley), a harsh lesson in subjugation. [12 May 1995, p.H]

Falls prey to the all-too-contemporary problem of complicating the tale until the ending is not only obvious, but prayed for between yawns. [9 February 1999, Tempo, p.2]

A fascinating study of sexual heat fueled by guns and ammo. [19 Oct 2001, p.C8]

What is most impressive about Kurosawa's direction is how he uses the entire frame, complete with expository background action, to fill in the story blanks. His eagerness to suggest, rather than declare, marks him as a director with confidence to spare.

A cinematic treat, thanks to the well-defined supporting characters, the flawless attention to detail and a performance by the great Roshan Seth - one of the most underrated actors of his generation - which is just about perfect.

So laden with forced plot twists that it will never be able to recover.

Shane is one of those movies that I revisit at least once a year, just to remind myself how stirring a Western can be when the mix of myth and method is just right. [21 June 2002, p.C8]

It's hard to focus on the travails when the music is so lively and good.

It's rare to find an American movie that works so well structurally from beginning to end, including a second act that withstands the plethora of fast-moving action, and a climax that is satisfying and well earned.

On one level, Late August, Early September is a story of how Adrien's illness and death affects those who respect and love him, but the film also finds the time and energy to suggest how the inevitable twists and delays that oftentimes comprise our early years can begin to feel like indulgences in the face of our own mortality. [17 Sep 1999, p.F]

Valentin is cut from the Woody Allen school of movie kids. With oversized black glasses and small-size suits, he is the total know-it-all package, right down to his insightful voice-over.

For its influence alone, this is a movie that more than deserves its classic status. [23 June 2000, p.M]

Any Chekhov is better than no Chekhov, but it would be a shame if this was your introduction to one of the greatest plays of the last 100 years.

It may be a bit enigmatic and cerebral for some tastes, but if you don't mind your spirituality being served from a cracked chalice, you may find Touch is exactly what you've been seeking. [14 Feb 1997, p.G]

The concerts are hypnotic, the music is swell, and the entire package moves along at just the right pace.

Despite its familiar trappings, Better Than Chocolate turns out to be quite enjoyable, thanks to some very engaging acting, a few involving subplots and an energy that must be credited to director Anne Wheeler. [27 Aug 1999, p.I]

Even if you have no interest in documentaries or the facade that is New York City, The Cruise transcends its artistic boundaries to becomes something strange and unique.

One of those small films that will, one hopes, find a larger audience through word of mouth.

Those not well versed in the rap music world may be a little lost at times, but you don't need to know your Ice-T's from your Cool-J's to realize that as far as these shootings are concerned, something is rotten in the state of California.

By the time the film is over, you may not feel differently about the key issues than you first did, but you will have many more facts (sound) and opinions (fury) to consider.

Halfway through, it becomes clear that the filmmakers don't know how to end the film.

The acting is amateurish at times, but always convincing.

Takes a couple of curious turns that you will either applaud or hiss at, depending on the type of film you are looking for.

There's nothing more uplifting than a documentary that celebrates a man's capacity to dream, and nothing more depressing than one that mocks those dreams. Stephen Earnhart's Mule Skinner Blues walks the razor's edge between these approaches.

A welcome respite from the high-volume ugliness of rock extravaganza.

Has a melodramatic glow.

In true Chris Smith fashion, he seems far less interested in the homes themselves than in the touching relationship between homeowner and abode.

Down in the Delta's large heart is certainly in the right place, but it is beating just a bit too slowly. [25 Dec 1998, p.S]

It's not the plot--however enjoyable--that makes I Went Down so successful as a genre piece. Rather, it is the assortment of quirky and nicely-defined characters who crop up along the way, along with some of the sharpest screen dialogue you're likely to hear anytime soon. [1 July 1998, p.2]

Never regains its raw power once the sultry Unger retreats from the front seat of her Chevy to the privacy of her suburban bedroom.

Most of the performers have limited acting experience, but they are perfect for their parts, exhibiting the courage, stamina and wariness essential to live in such a harsh environment.

If the mark of a successful documentary is its ability to make us examine a tired subject in a fresh way, then Eyes is a rip-roaring success.

A story of faith and redemption, as viewed through the blurry and bloodshot eyes of a young man.

The key to this 1956 bio-pic is the sumptuous cinematography and art direction, which is to be expected from the man who gave us "An American in Paris" and "Gigi." [23 Nov 2001, p.C11]

If you are willing to overlook the occasional missed block, clumsy tackle or dropped pass, there is more than enough in Varsity Blues to keep you engrossed.

When Aimee and Jaguar gets on one of its frequent rolls, it can evoke memories of Bertolucci or even De Sica.

The problem is that we never see Dex employing the Steve technique to bed a female.

As much a curiosity piece as anything else.

Once you get used to the broad gestures, visual stylings and reach-for-the-sky emotions, you may find yourself luxuriating in this movie's undeniable grandeur.

The film is surprisingly easy to sit through, digest and even enjoy. Why? A lot has to do with Hogan's well-documented charisma as a performer.

A hit and miss proposition, with an abundance of laughs and emotional highlights to help brighten the dimly lit corners of cliche-mongering.

This wise, clever Israeli film reintroduces the once-popular concept of film as allegory, as it follows a Christian pilgrim on his bumpy road to salvation.

This cynical film paints a hugely unflattering portrait of life in Hollywood's fast lane. I have no way of knowing exactly how much is exaggeration, but I've got a creepy feeling that the film is closer to the mark than I want to believe.

Clueless is no "Fast Times" when it comes to character development or the merging of comedy and drama, and it might have worked better if it had been more story-oriented and plot-centered. But thanks to Heckerling's spirited direction and cutting-edge script, it is, "like . . . majorly and furiously golden." [19 July 1995]

Less a pure documentary than it is a fact-finding mission, with the real story waiting to be presented somewhere down the line.

The film doesn't always take advantage of its dramatic potential (except for its strong soundtrack), as it relies too heavily on scenes of crazed warriors in makeup and costume, running and screaming and jumping up and down.

Spins a fairy tale web that is hard to escape.

At this point, "The Corruptor" looks as if it's going to be just a rehash of an early Dirty Harry movie, but it surprises by taking us inside Chinatown, where we discover just how sinister and elaborate the relationships between the police and the businessmen can be. [12 Mar 1999]

A powerful indictment of a religious mind set and is sure to spark plenty of post-screening discussion.

Some films, oddly enough, can be too ambitious for their own good, which is the case with Restaurant.

Stumbles a bit towards the end when it focuses too much on a convoluted robbery attempt, but overall, it is a slick and intelligent look at life in the passing lane.

A pleasure to watch and also serves as a reminder of a time when "right over might" was at the core of a powerful country's credo. [28 May 1999, Tempo, p.5]

All of us had at least one teacher who inspired us during our formative years, and Mr. Holland's Opus is a cinematic thank you to all those chalk-stained magicians who were somehow able to spin flax into gold. It's a moving tale of sacrifice that is well worth seeing.

Solid acting anchors "Laughter," but it's Margret Vilhjalmsdottir and Ugla Egilsdottir as Freya and Agga who carry the load.

A shy and depressed college graduate falls in love with a Bohemian artist, as in Woody Allen's "Manhattan."

Ultimately a disappointment because it refuses to take any aspect of itself seriously.

Plenty of fun, less for its many plot twists than for its large and varied assortment of vibrant characters. [12 Mar 1999]

A salute to those who were blessed not only with savvy and courage, but something between an uncanny sense of foresight and an unforeseen stroke of good fortune.

One of those rare movies that manages to maintain the hushed intensity and claustrophobic anxiety that is normally associated with theater or prose.

Exceedingly clever and very sharp. [12 Apr 1995, p.7N]

May be a bit sentimental for some, but I found its patient examination of how the forces of optimism can be overwhelmed by a wave of cruelty to be both moving and wise.

The direction by first-timer Mark Pellington is competent, as he pretty much allows Wakefield's script to play out without fanfare. [10 Oct 1997]

The landscapes and backgrounds of the Min Valley and the Nanking Road, not to mention the cuddly pandas themselves, are the big-ticket items here.

Exotica may be a gloomy journey up river, but it's a trip worth taking. See it with a friend. One who has something to say. [03 Mar 1995, p.J]

There is something inherently dishonest about Dark Days.

Beautiful little film.

May not have the size and grandeur of some of the biographical and political epics being released this fall, but I defy you to find a better written, more honest -- or yes, more satisfying and delicious -- movie this year. [27 September 1996, Friday, p.C]

Moskowitz may soon find himself in the same boat as many of the artists he is analyzing, because Stone Reader is going to be one tough act to follow.

This film would be an excellent companion piece to Wim Wenders' "Wings of Desire," which deals with angels looking down on this scarred city. Berlin Babylon isn't nearly as lush, but in its own curious way, it's every bit as spiritual.

An eliptical puzzle that comes together beautifully in the last five minutes. Challenging, disturbing and at times brilliant. [21 Oct 1994]

Bennett also co-wrote the script, based loosely on her own experiences, and is the best thing about the film. A physical cross between Holly Hunter and Christine Lahti, she's quite convincing as she tries to figure out what has gone wrong in her personal life - and how she can fix it before it is too late.

The transition from cinematographer to director can be a bumpy ride, but few have navigated it as well as British filmmaker Nicolas Roeg. [08 Mar 2002, p.C6]

Reminiscent of classic old Westerns.

A British horror classic, filled with enough creepy imagery to keep "normal" children awake at night, and parents looking over their shoulders at the "little monsters" plotting away in the room down the hall. [29 Nov 2004, p.C4]

Based on a one-act play by Ferenc Molnar, and scripted by Wilder and his frequent collaborator, I.A.L. Diamond, One Two Three is all-Cagney all the time. [11 May 2001, p.C2]

The performances are all superb, but special mention should go to Melanie Lynskey, a first-time film actress, who brings a frightening calm to the role of Pauline, and Sarah Peirse as Pauline's mother, whose main fault seems to be exhibiting too much care and concern for her strong-willed and imaginative daughter. [25 Nov 1994, p.M2]

A smooth-swinging fable that lays solid wood on the issues that matter. [15 July 1994, p.F]

Much to enjoy in this potpourri of silly fun and forbidden games, but a bit less ambition and a tad more focus might have helped.

The key to the film, however, is the joyous performance of Mike Myers, who plays both the Beatle-mopped Austin Powers and the bald-headed Dr. Evil.

It remains the best movie ever photographed in 3-D, although the film, adapted from Frederick Knott's stage play, seems less than ideal for the 3-D process, given its tight interiors and extended dialogue scenes. [19 May 2000]

A multilayered documentary that explores music and friendship, and in its own quiet way, the battle with fame.

Works better as a sociological study than as a gripping drama.