John Petrakis

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

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]

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]

If Shackleton's adventure was to be the swan song for those 19th century explorers whose exploits stirred the imagination of young men around the globe, it was a magnificent way to say farewell.

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]

Davies has said that he loves the "poetry of the ordinary." In that sense, he doesn't just wax nostalgic about the good old days, but rather, he makes us question and reevaluate those things we may not remember so readily-not the general, but the specific.

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.

The Mirror may not be the easiest place to start your Tarkovsky education, but its sublime images (including a memorable shot of a burning barn in the rain), are sure to whet your appetite for more. [26 May 2000, p.M]

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

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

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.

It's strictly rental material. [06 Oct 1996, p.11]

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]

Works so well for the first 40 minutes or so, that when the bottom falls out of it, I felt more than disappointed. I felt betrayed.

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]

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.

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]

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

A disjointed and ugly film that has all the dramatic depth of a tractor pull. [06 June 1997, p.J]

The acting is amateurish at times, but always convincing.

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

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

Brilliant documentary.

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]

An all-too-familiar barfly story that often seems aimless. [25 Oct 1996, p.A]

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.

There is something inherently dishonest about Dark Days.

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]

Any serious message has been sacrificed on the altar of excess, making us realize why the stylish story probably worked better as a graphic comic book than as a film.

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

Beautiful little film.

One of those frustrating movies that takes forever to get where it's going, and once arriving, the frustration is increased because one realizes how much better it should have been.

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.

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

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]

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.

As much a curiosity piece as anything else.

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

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]

Surprisingly lacking in revelatory moments.

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.

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]

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

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.

By the end we are left with a mildly amusing comedy and the lingering memory of a sterling cast that deserved better material.

Though the final journey drags at times, the early expository scenes in the shadows of Saint Sophia and assorted mosques are impressive and quite moving.

The overriding sense one gets from this short but powerful film is awe.

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

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

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

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.

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]

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]

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

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.

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.

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]

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.

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

This is a big-hearted film with admirable ambitions, and the ending is appropriately bittersweet, with victory and comeuppance occupying the same time and frame.

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.

It has terrific moments, but whenever it starts to cruise along nicely, it hits a comedic pothole that forces it to sputter on down the road.

Absorbing in places, but considering the large and diverse pool the filmmakers had to draw from, it's a surprisingly repetitive and predictable collection of big-city sagas.

Custom-designed for 13 year-olds, laden with broad sight gags, gross sound effects and a bowlful of potty jokes.

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 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.

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]

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

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.

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

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

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

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.

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

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]

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

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.

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

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

Perhaps it is time for the folks at Jim Henson Productions to start thinking up original stories again, or at least find material that lends itself to the Muppets' overall strengths, instead of playing into their weaknesses. [16 Feb 1996, p.F]

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

The ultimate shallowness of this film is reflected in the fact that their key bonding moment occurs when they bungee-jump off a bridge together.

Reminiscent of classic old Westerns.

So look for (Francis) at the 2000 games in Sydney, which may provide a more heated ending to this lukewarm story.

Like many horror films, it loses steam as it gets more graphic.

A lamebrained attempt at horror that is just a derivative pastiche of ideas lifted from other bad films.

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]

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

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

Like most sequels, this one is worse than the original. The special effects look cheaper, the villains aren't as evil and the action sequences have all the vitality and creativity of the later, lethargic Karate Kid movies. [28 Mar 1997, p.D]

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

The very strong performances in this low-budget film deserve a better narrative structure to strut their stuff.

Gives you your money's worth and then some.

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]

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.

Though this film shows flashes of the electric writer Mamet was to become, Lakeboat is mostly distant thunder over choppy waters.

Has a melodramatic glow.