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]