Lawrence Van Gelder

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.

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.

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]

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

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.

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.

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

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.

The portrayals by the fetching Ms. Yoshikawa and Mr. Takeda are consistently absorbing, and Mr. Limosin's plotting, though essentially gimmicky and manipulative, packs mystery and tension.

What makes the film worth watching are the extraordinary performances by the more than 250 children cast as orphans.

The kind of silly summer fun that gives family entertainment a good name.

Though it is marred by an implausible climax and a cloying conclusion, this movie's quiet intelligence sneaks up on you, marking the director as a talent to watch.

Mr. Jewison, filming mainly at Fort Chaffee, Ark., has opened up the play by using such interiors as the bar where the troops hang out and exteriors on and around the base. But perhaps most commendably, he has let Mr. Fuller's drama speak for itself, applying the skills of a film maker to polish the facets that lent such substance to the drama.

Astringent and unsentimental, it is a case study of losing, its clear eye focused unwaveringly on the realities of commerce and kinship.

C.H.U.D. makes no pretension toward serious theses about government or the environment. It is meant to be light commercial entertainment, and in the category of horror films it stands as a praiseworthy effort.

High-spirited entertainment .

Artfully treading a fine line between operatic tragedy and romantic comedy.

It is probably hopeless in the presence of Trekkies to do anything but sit back -- amused, bemused and astonished -- and watch the devotions of fans of the various incarnations of "Star Trek."

The director, who also served as producer along with Lisa Comforty, his wife, spent 12 years compiling the archival clips and photographs that make up this compact and elegant film.