Kevin Thomas

A dynamite concert film.

A fervent assertion that an individual has the right to pursue his own path lies at the vibrant heart of The Business of Fancydancing.

Because of King's phenomenal popularity as a master of the comically macabre, executive producer Dino De Laurentiis has stinted on nothing to bring these tales alive. This means that the special effects are impeccable and Giorgio Postiglione's production design meticulous and inspired. Yet it's the well-drawn characters, plus the brisk, stylish direction of Teague and superb camerawork of Cardiff, that make it work.

The Umbrellas of Cherbourg has stood the test of time as beautifully as Deneuve and seems likely to enchant future generations as fully as it has audiences over the past four decades.

Moll, in only his second feature, evokes a sense of foreboding, playing the routine against the unnerving, the humorous against the sinister, with a wit and deftness that might have impressed Hitchcock.

A splendid instance of a surrealist vision that serves to heighten the impact of genuine emotions experienced by believably real people.

Well-nigh flawless, with scarcely a moment's lull. [18 Dec 1990, p.F1]

This anti-nuclear war, science-fiction parable is something of a minor legend, beloved by '50s buffs and cinephiles. Robert Wise directed what turned out to be one of his best-liked movies and a personal favorite of his. [04 Jun 1995, p.66]

A comedy of the most delicately balanced perfection.

Director Nora Ephron and her co-writers, sister Delia plus Pete Dexter and Jim Quinlan (the latter two wrote the original story), bring a smart contemporary sensibility to the hokum, hilarity and heart-tugging that have made for many a classic Hollywood entertainment.

A sparkling romantic comedy, the kind of picture that glides by so gracefully and unpretentiously that it's only upon reflection that you realize how much skill, caring and good judgment had to have gone into its making.

A fast and furious action-adventure. The film's comedy counts for as much as the clever and risky ways in which Wahlberg and company go after the nasty Norton, who has holed up in a Bel-Air mansion with a world-class security system.

It is a bravura work that attests to Pineyro's command of a style rich in texture and nuance and also of multilayered material.

Lucie Aubrac has it all: a tender romance, acute suspense, terrific acting, and a camera style and and score that are beautiful yet understated...a major work, possessing breadth, depth and passion.

The smiles don't fade until the finish of Women on the Verge of a Nervous Breakdown when we witness Pepa's realization that she has, in fact, come into her own and taken charge of her own destiny. [20 Dec 1988, p.1]

What a relief it is to discover that Wayne's World 2 is just as hilarious as last year's original, which was one of the best, most distinctive American comedies in years. [10 Dec 1993, p.F14]

A drive-in classic that is one of the most cherished horror pictures of the '50s. [30 Oct 1997, p.F17]

Denis and Testud, in a wondrous collaboration of a gifted director and equally gifted actress, succeed in making Christine a tragic figure.

A luminous, piercing film from the Elizabeth Bowen novel, richly evokes a world of privilege on the verge of disintegration.

Mastery of tone is everything here, and Azazel's control, combined with his wit, perception, discretion and easy command of the visual and of his cast makes Momma's Man a gem.

A beautifully structured and photographed film, John Turturro's rapturous Passione offers a vibrant exploration and celebration of Neapolitan music in all its grit and glory, presenting 23 musical numbers that encompass a millennium's worth of influences.

A film of stunning impact.

Even though there are tedious stretches with less-than-riveting characters, the film gradually pulls you into its claustrophobic spell and becomes acutely suspenseful in its final half-hour.

A drama of extraordinary power and insight with dazzling performances from not only Spacey but also Danny DeVito (who may well be at his best ever) and from newcomer Peter Facinelli.

A stylish work from an accomplished, sophisticated filmmaker that bristles with intelligence and gleams with Scott's and Davis' multifaceted, astutely judged portrayals.

The result is a career milestone [for Hal Hartley] and a film that could become a landmark in American independent cinema.

A dynamic, fully visually realized experience. It's every bit as gory as "Batman" but more cohesive and its struggle between good and evil more tightly integrated. [11 Aug 1989, p.C6]

Handsome as all Allen films are, and it proceeds with the brisk, sophisticated air of throwaway confidence and lack of pretense that we expect from the contemporary master of grown-up comedy.