Lawrence Toppman

The story has overtones of “On the Waterfront.”

A wild, self-indulgent but completely captivating extravagance.

Even if you don’t get the references, you can enjoy the ripely robust acting – especially Russell, Jackson and Leigh – and Tarantino’s storytelling skill. I could have done without the bad-boy excesses, which always seem like the mark of his immaturity, but the rest of the film comes from a mature and capable artist.

The movie takes countless liberties, including the addition of the 13-year-old girl. But authenticity doesn't matter much; we're watching a fairy tale about trust, maturity and beating the odds, and those plot threads are woven tightly together. [13 Sep 1996, p.6E]

Stuff yourself with popcorn, let the gray matter rest and enjoy what may be the best two hours of nonsense you'll see this year.

Fire shows what happens when a government systematically denies rights to one racial group for decades, but its message is more current.

At the center of the film lies a moral question, not a literary one: Should Ginsberg abandon the potentially visionary Carr when he turns out to be a liar, an exploiter and an emotional traitor? Should he, in fact, “kill his darling” when Carr commits a heinous act and asks Ginsberg to lie for him?

A pretty good movie. It just isn't a very good "Sleuth," exactly.

Watchable family films are so rare these days that we shouldn't put a stake through one with so much heart.

Both the good and bad remind us that the most special thing about "Skull" is the man wearing the fedora and the rakish grin. He has never worn out his welcome, and this valedictory – it can be nothing else – is a fitting one.

A picture that gallops forward as soon as it breaks out of the gate. Anyone with an open mind and curiosity about history might enjoy it.

Alfred Molina makes an excellent foil as the easygoing, philandering Rivera, whose public murals were the exact opposite of Frida's private canvases.

A movie that's smarter than its trailer - in fact, totally different in tone and content? That's news, and it's why The Break-Up is a pleasant surprise to the open-minded.

The filmmakers have a vision of the way Shakespeare can be made vibrant and vital to modern viewers, with or without the lofty original dialogue.

Wandering, atmospheric, episodic yet strangely appealing story of love.

Atmosphere is the main virtue with which this "Devil" can tempt us.

It mocks folk musicians of the 1960s, who could sometimes be full of hot air. It also acknowledges that protests 40 years ago, often spearheaded by bards and balladeers, blew much-needed fresh air into post-Eisenhower society.

This isn't a film noir, but it hovers in the shadows of that genre of discontent and disillusionment.

Ides can't be said to enlighten any but the naive, and it's not likely to shock us into positive political action So what pleasure can we get from this movie? Quite a bit, as it happens.

The new version of The Ladykillers is like an able forger's copy of a masterpiece. The brushstrokes are broader, the colors are a little less subtle, and one or two portions of the canvas were finished in a hurry. But it's well worth a look if you're passing by.

The cheesier it got, the more I liked it.

Smith dominates the film. He captures the upright stance, slightly stiff movements and lilting accent of a highly educated African who realizes he doesn’t understand America, and America doesn’t understand him.

A perverse kind of payback for every terrorizing cabbie, bullying streetwalker, insulting bike messenger and screaming corner grocer in Manhattan.

Director David Yates, who did the last four “Harry Potter” films, delivers both big thrills at the climax and small, spooky ones when Tarzan and the others move through a world of beauty, terror and mystery.

As in “Restrepo,” we never have the sense that Junger makes judgments. Near the end, soldiers in their 20s say their bonds with other servicemen run immeasurably deep, and they never expect to have relationships this meaningful with anyone else again.

A terrific thriller...until it turns into yet another Wes Craven movie.

Brice stops his story just before it becomes redundant – most filmmakers these days can’t say that – and although I didn’t believe the outrageous next-to-last scene, he caps it with a laugh-out-loud joke.

For the first time since "Chasing Amy," I realized why people like Ben Affleck.