Jonathan Foreman

After a dreadfully clunky start, Left Luggage picks up and becomes quite moving.

Surprisingly smart and satisfying.

Lacks even a trace of imagination. Its by-the-numbers plot is depressingly familiar, and each line of dialogue is so predictable that the script... could have been generated by a computer.

A campy docu-drama about the secretly gay world of 1950's muscle magazines.

There's some lumpy writing and uneasy acting, but it's easy to see why this charming, inventive film won prizes at festivals in Berlin, San Francisco and Newport, R.I.

Has moments that are eerily beautiful and genuinely moving -- and some that are surprisingly vulgar.

Recycles gags from various, more successful gross-out and romantic comedies, but without any zest or imagination.

Unfortunately, this version of the familiar formula lacks the inspiration, genuine wit and raunchy charm of 1998's outrageous "There's Something About Mary."

Much of Tomcats is actually boisterously, crudely entertaining.

Much has, and will, be made of the grisly scenes throughout the film.

An awkward hybrid of genres that just doesn't work.

Better than any automobile flick put out by Hollywood in a while and, thanks to some genuinely exciting moments, it is easily the most entertaining so far of this summer's big, brainless action movies.

Greengrass' direction is uninspired, but there is powerful chemistry between a workmanlike Branagh and (real-life girlfriend) Bonham Carter. And her original, seductive and always believable turn as the difficult-but-lovable Jane raises the movie above all its flaws. [23 Dec. 1998, p.44]

Much of the resulting material is very funny, though there are a few times when the filmmakers patronize or mock their subjects in a way that makes you uncomfortable.

It's hard to imagine how Shyer and script writer John Sweet could have brought this tale to the screen in a cruder, cornier or less interesting way.

Peter Farrelly is angry at Miramax for marketing his and his brother Bobby's new film as a follow-up to their surprise smash hit, "There's Something About Mary."

I was pleased by the forthright defense in Friendly Persuasion of Iranian cinema's use of children.

Beautifully shot and often moving.

Atrociously written.

Has some entertaining moments, thanks mainly to Bullock herself, who is surprisingly glamorous as well as endearing.

In any case, the presence of O'Hara, Kline, Ramis, Black, Tomlin and John Lithgow (who plays Shaun's father) serve mainly to underline the feebleness of the screenplay and the slackness of the direction.

Never less than breezily entertaining.

The sequel's battle scenes -- especially the climactic assault on the Helm's Deep fortress by the armies of darkness -- easily put those of the "Star Wars" series to shame.

Exciting stuff in its primitive, predictable way.

Every good joke in the movie is to be found in those trailers.

A criminally slow, all-but-laughless blaxploitation comedy.

A slow, self-consciously low-key, very dull film that strains for eeriness with long silences and affectless performances.

It's an even rarer pleasure to see a film that combines exciting action with a smart, well-informed script and vivid yet restrained performances.