John Petrakis

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

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.

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

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.

Reminiscent of classic old Westerns.

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

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]

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.

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.

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]

Gives you your money's worth and then some.

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.

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

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

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]

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

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.

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]

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

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.

Has a melodramatic glow.

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]

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