John Petrakis

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]