Kevin Thomas

Parker Posey, the queen of the indies, is a stylish actress, but there's not much she can do with the flat, trite sex comedy The Oh in Ohio, written by Adam Wierzbianski and directed by Billy Kent without a trace of imagination or originality.

Glowing, amusing movie that's a good bet to lift your spirits.

No place for literalists, but Ferrera fans should be pleased with this tale.

The result is crass but reasonably harmless, although to hear one of the guys hold forth on how much he's learned about family and loyalty in just one week living with the DOGs is enough to make a person gag.

Julie Davis' story is fresh and amusing.

Under Tierney's admirably low-key, unexploitative direction all his actors are memorable and never seem to be acting. Twist is decidedly dark but consistently engaging.

A film of much gentleness, tenderness and keen observation into the way laughter and pain have a way of colliding into each other.

An exceptionally satisfying film of much grace and beauty.

Crackles with forceful portrayals. Funny, violent, impassioned and inescapably poignant, Stander in no way sanctions Stander's turning to a life of crime yet has the courage to see him as a victim of apartheid himself.

The slapstick and the sight gags come thick and fast, as they have throughout a hundred years of screen comedy, yet director Dennis Dugan and writers Mark Feldberg and Mitch Klebanoff keep everything light and bouncy.

A striking Western but empty as it is elegant. [25 Jan 1987, p.5]

It's increasingly hard to work up a fright on the screen these days, but even if The Cave doesn't exactly terrify, it's fun and looks great.

Provocative rather than scary, and it's made with visual flair.

The result is a film that is wise, fatalistic and romantic in just the right proportions--in the best noir tradition.

Trite and uninvolving.

Tokyo Decadence is likely to stay with you long after the theater lights come up.

An adroit, beautifully acted, sophisticated film with some drier-than-dust humor about unsophisticated people and is impressive as such. It's too bad that it's not more engaging much earlier on.

An appealingly wry little film that is as appetizing as its title.

Ichaso moves easily between a black-and-white past and a full-color present, maintaining a pace as buoyant and rhythmic as the beat of the infectious Latin music that accompanies the film.

Diverting and sometimes humorous but sticks to the superficial ...not distinctive enough to make much of an impression.

It's polished without being slick; well-paced and graceful and brought alive by stellar performances led by Jaffrey.

Because its gimmick lays bare the evils of racism so easily, the movie works for a while, but it becomes so predictable that it runs out of gas long before the end. [13 Oct 1985, p.5]

It is a slack and preachy business that never comes to grips with its underlying theme of homophobia.

A ruggedly beautiful landscape of desert and sea provides a dramatic setting for a psychological drama told with the utmost rigor--and unabashed eroticism.

The problem is that, even though a romance develops, Buddy himself changes almost not at all, which means the film leaves a sour aftertaste. [15 June 1986, p.SUN-6]

This stunning, unjustly neglected 1981 release unfolds much like a Ross MacDonald Lew Archer mystery as it becomes a singularly devastating indictment of the plight of the neglected Vietnam veteran. [13 March 1988, p.2]

Among the most sophisticated, fully realized and satisfying films of the year.

Lively, incisive and comprehensive documentary.