John Petrakis

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

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.

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

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.

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]

I can only hope that this film was a lot of fun to make. That way, someone will have enjoyed the experience.

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]

Junk food laced with testosterone.

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]

Thinner has its meaty moments, but overall, it's Stephen King lite. Less taste, less filling, less fun.

Overall, Wide Awake is a sound concept that fell considerably short of its goals. [27 Mar 1998, p.B]

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

The film has none of the charm of the series.

There aren't many surprises in Fire Down Below, except for the presence of a few very good actors (Harry Dean Stanton, Kris Kristofferson, Levon Helm) and a slew of country stars in cameo appearances (including Loretta Lynn's twin daughters and singer Randy Travis, who looks to have a future as a movie heavy). [8 Sept 1997, p.C2]

A decent idea that never goes deep enough for genuine satisfaction.

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.

When the final twist has been turned and the last corpse has hit the ground, it is a film that could have been twice as good if it had been half as complicated.

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.

All the principals in this cinematic mess have had moments of glory on stage and screen, and one can only hope they got paid well for participating in this comedic embarrassment.

It's hard not to feel angry that you've spent almost two hours watching this moronic exercise.

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]

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.

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]

It's just a matter of holding your nose until the whole thing is over.

Could be the most overblown and confusing example of anime yet, as it piles one pretentious story element on top of another.

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]

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.

Poor Roberto Benigni, the Italian comedian who has been given the unenviable assignment of filling the shoes in which Peter Sellers stumbled so effectively. In Son of the Pink Panther, Benigni works from a real dung heap of a script.

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.

It's more of a pastiche, a montage of brutality, a slow descent into Dante's Inferno until we reach the subbasement of a boy's soul. [21 Apr 1995]

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.

As directed by Ronny Yu, Bride of Chucky shows flashes of visual inspiration, and the script by Don Mancini is laced with tiny nuggets of humor. But overall, Chucky seems to be coming apart at the seams.

The Doom Generation can't help but choke on the poisonous fumes of its own cloudy existentialism. [10 Nov 1995, p.G]

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

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

Perfect late-summer drive-in fare.

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.

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.

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.

A bloody mess...The effects are nothing you haven't seen before; the acting is so broad, it borders on the ridiculous; and the story, once intriguing, has become ludicrous. [11 March 1996, p.C3]

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

This medical miracle scene is by far the best in the film. Not because it is sexy or, perish the thought, Zen-like, but because it is pretty hilarious-a bizarre blend of the Marx Brothers, Three Stooges and Keystone Cops, with a little raunch dressing on the side. Unfortunately, the rest of the film is mostly a lot of grunting and groaning.

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]

The direction is on auto-drive, the dialogue lacks wit and the story logic is non-existent. [03 Nov 1995]

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.

Has the potential to be much more than it is, especially with the collection of able actors on hand.

The sequel is about nothing more profound than an awkward teenager's desire for a really cute boyfriend. [12 March 1999, Friday, p.N]

Ostensibly a story about first love in college, and I never believed a frame of it.

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.

Just one more example of Hollywood cramming any old idea it can unearth into a moneymaking formula. [17 Feb 1995]

This was a mission that should have been aborted long ago.

The plot thickens and thickens and thickens until it chokes on a tangled mess of double-crosses.

All the obligatory plot elements are there. Love and loss, anger and forgiveness, illness and death. But they never flow together to make a coherent story. Instead, they just pop up whenever the script is in trouble. Which is all the time.

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

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]

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.

It's not much more than a collection of clever sight gags and one-liners that leaves the door wide open for another, better film about political correctness on the quad. [29 Apr 1994, p.D2]

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.

Perhaps blackmail isn't an easy subject to warm up to, or robbery the best ground to rebuild a relationship on, but with a little care, some added ingredients and a bit more spice, Getting Even With Dad could have been a satisfying meal and not just an afternoon snack. [17 Jun 1994, p.H]

The shadow of Gena Rowlands looms over this picture like a cinematic eclipse. [25 January 1999, Tempo, p.5]

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.

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.

The sad truth is, I can say nothing to recommend this film.

So filled with illogical twists and ridiculous turns, that eventually it evokes unintentional laughs.

The movie is slick, good-looking, nicely edited and empty. [09 Sep 1994, p.F]

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

The special effects are surprisingly good. And the too-numerous fight scenes have a certain flavor, since Ivan's henchmen always explode in ooze when they are destroyed, which brings out the eeewww in the audience.

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.

Perhaps if writer-director George Gallo ("29th Street") had tried to simplify this potentially sweet story, instead of mucking it up with all sorts of chases and shtick, it might have worked as a modern Christmas fable, complete with charity, kindness, and Three Not-So-Wise Men. But instead, we are presented with a Christmas buffet of overstuffed fruitcake and overspiked punch. Too stale, too sweet, too much. [02 Dec 1994, p.J]

The biggest script flaw is the curious lack of cause and effect in the relationship between Jack and Ed.

It gussies up the tale with so many random subplots that by the time we cut through the morass, the film is over.

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.

Surprisingly lacking in revelatory moments.

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

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

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

If it's a necessary piece of history, it's a paltry piece of drama, with intentions so grand, they're absolutely deadening. [20 Dec 1996, p.C]

It is difficult to decide what is more annoying. The complete lack of execution in this film, (despite the presence of some very talented actors), or the realization that these lame screenwriters were so devoid of original ideas, they resorted to picking at the carcass of a tale that has been done and redone to death. [11 Aug 1995, p.28]

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.

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

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.

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

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 are some cute visuals now and then, but overall Good Burger may raise your blood pressure and, if you suffer through the entire 94 minutes, perhaps even lower your IQ.

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.

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.

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.

Not without its humorous moments, but they are too few and far between.

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]

Perhaps if you are a Sega-head or Nintendo freak, and your mission in life is to rack up awesome scores on Double Dragon, you may find this loud and tedious movie more enjoyable than I did. But I doubt it. [04 Nov 1994, p.M]

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]

What it gains in fun, the film loses in credibility, as the production number itself more closely resembles a high-priced Las Vegas extravaganza than a quickly organized charity event.

(Kids) are likely to reject Grizzly Falls as though it were a piece of chewed-over bear fat.

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]

Rife with wrong people in major jobs, which leads to a movie that lacks the requisite verve to make to it sparkle.

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.

But once the action wanders off the playing field, "The Program" shows all the cleverness, originality and depth of the Chicago Bears' offense.

Falls prey to a boatload of screenwriting cliches that sink it faster than a leaky freighter.

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.

Most of the humor is aimed at 14-year-olds.

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

Ultimately, the weight of the film falls on Goofy's powerful shoulders. He does his best, but like Norma Desmond, he can only do so much.

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.

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

Too-loud, poorly directed and seriously overedited.

Brilliant documentary.

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]

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.

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.

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

Just Married is what industry people refer to as "January Junk," cinematic flotsam that gets tossed ashore once they have cleared the shelves of Oscar contenders.

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

If you are looking for an abundance of eye-gouging, flesh-burning, blood-oozing and head-chopping, not to mention cauldron after cauldron of boiling oil, than THIS is the movie for you. [05 Jul 2002, p.C6]