Lawrence Van Gelder

Written and directed by Deepa Mehta, this glossy melodrama, mixing references to Indian mysticism and the epic poetry of the "Ramayana" with late-20th-century feminism, teeters unsteadily between sociology and soap opera.

An inspiring film about an inspired teacher. It should leave all viewers with an ounce of curiosity eager to hit the streets with Dobsonian telescopes of their own.

Sublime in its involvement with the yearning of mankind to explore the heavens.

Filtered through tears, laughter and affection, the results -- are touching and fascinating though, by their nature unilluminated by dispassionate analysis.

Brims with understanding of the complexities of relationships, the frailties of humankind and the possibilities of joy.

Children who revel in clean-cut heroes, villains given to spells and incantations and the kind of special effects that breathe life into mandrake root, ships' figure-heads, centaurs, griffins and statues of Kali (always a deity beloved of evil forces) will probably find it a happy concoction for passing a rainy afternoon.

Leelee Sobieski and Albert Brooks, especially Mr. Brooks, deliver outstanding performances in the first feature film to be directed by Ms. Lahti.

While the animated characters, bright colors and an appealing Randy Newman score may keep the children content, Cats Don't Dance is no saccharine fantasy. Its Hollywood references and dark satire constitute its real strengths.

Though it is occasionally talky, and though its plot takes a while to crank up, The Last Starfighter, directed by Nick Castle, is more often than not good-humored, bent on action and even touching. [13 July 1984, p.C5]

A superior Seagal film, a smooth blend of action, character and noble environmental message. Credit is owed to the screenplay by Jeb Stuart and Philip Morton, which provides strong supporting roles; the photography, directed by Tom Houghton, which brings out the beauty of the landscape violated by the villains, and the lively country music, which is attributed to Nick Glennie-Smith. [6 Sept 1997, p.18]

Director Curtis times his audience immersions into the ice bath of terror with such skill that moviegoers will scarcely have the leisure to ask why some of the renters aren't a bit more observant and curious about their dwelling.

Such a joyous celebration of sex and filmmaking that viewers will forgive its director for taking time out to enjoy a little of both.

Mr. Drake can be rivetingly angry, intense, frenetic, frank and touching.

The boys, particularly Mr. Webber as Pete, are astonishingly good, and Ms. Monaghan, who looks like a slightly more tomboyish Liv Tyler, makes a deep impression in a minor role. Mr. LaPaglia, of the television series "Without a Trace," brings a tender gravity to the shell-shocked Jim.

Not often does a family film come along that is literate, clever, mischievous and just plain fun.

Of these four plots, the story of Carmen's blended family is by far the most consistently engaging, largely because of the vibrant presence of Ms. Ferrera.

The overall effect, especially given the gorgeous setting and liquid-gold cinematography, is less a discussion of the divine than a commercial for it.

This well-cast film does with a lighter hand for art what "The Producers" does for show business.

It's an intimate chamber piece, dialogue-heavy and at times claustrophobic, but the four central characters are so deftly sketched, and their shifting alliances so intricately choreographed, that the film never feels talky or staged. The actors are consistently excellent.

A beautiful and devastating meditation on war, history and loss.

For a film about death-camp survivors Forgiving Dr. Mengele is surprisingly uplifting and, at times, even lighthearted.

Its winning cast, spirited music and mordant view of establishment figures, from the police to cocaine-sniffing record industry executives, make Bandits a stylish, buoyant entertainment.

With top-drawer voice talent including Joan Plowright and Dick Van Dyke, original songs by Jack Johnson, and old-fashioned two-dimensional animation that echoes the simple colors and shapes of the books, Curious George is an unexpected delight.

Acted by an appealing cast, enlivened with well-chosen and varied music and filmed with bleak beauty by the cinematographer Eduardo Serra.

The story is told in faux-documentary style, echoing the films of Christopher Guest, and if the cast never quite matches Mr. Guest's ensemble in comic inventiveness, they nonetheless manage to invest a very slight story line with a loose, scruffy charm.

May not be dispassionate filmmaking, but it is certainly entertaining.

Impressive, unsettling, deeply felt film.

The characters...are well cast, well directed and skillfully acted, if not a particularly admirable lot.