John Petrakis

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.