Mark Caro

Generates genuine tension because it's propelled by actual human feeling, which, these days, turns out to be a surprisingly thrilling prospect. [11 Dec 1998]

The actors and writing lend unexpected dimension to all of the characters, and Lopez's Harry is an indelible antagonist, one who manages to be genuinely big-hearted and evil.

Such a stylistic inconsistency might be bothersome in another film, but here it's just part of the texture.

Washington, typically, is rock-solid in front of the camera, conveying ample warmth and sympathy. Behind the camera, he's a relatively straightforward storyteller, strategic in his use of lyrical touches.

Gordy barely is mentioned, even though he was the artistic leader who presumably profited most from the Funk Brothers' labors. Discussing Motown solely through the prism of the musicians is like assessing Picasso's works on the basis of the paint quality.

The movie is zippy, laugh-out-loud funny, persuasive and at times horrifying, as Spurlock undergoes his unpleasant changes with good humor and bad tummy aches.

Until it develops a bad case of verbosity toward the end, it improves upon its predecessor in almost every way, delivering flashier thrills while digging deeper into its characters and adding an overlay of wit.

A puzzle movie in which the puzzle is actually worth the time and effort to solve.

Combining the immediacy of the Internet and the wise perspective of history, Startup.com proves that investing in real-life drama can reap rich dividends.

Takes a premise that seems ripe for broad, vulgar joking and turns it into a sly, even subtle, comedy.

The day after seeing it, you're less likely to fixate on the flaws than to find yourself experiencing chuckle aftershocks as you recall the most outrageous gags. In these days of mostly forgettable comedies, that sensation has become all too rare. [15 July 1998]

A brilliant, absurd collection of vignettes that, in their own idiosyncratic way, sum up the strange horror of life in the new millennium.

That it's got a positive message may strike some as decidedly not "edgy" -- but they should be too busy stomping their feet to notice.

It's rare to see a movie that takes such joy in the power of words, not to create lofty works of art but to effect the simple, necessary translation of what's in one's heart and mind.

There's good pulp and bad pulp, and for most of its duration, Joy Ride is quality stuff.

They're a ragtag assembly for sure, and the results aren't pretty. But on a simple mission of entertainment, they get the job done.

This clear-eyed, low-budget drama is populated by troubled teens whose stories aren’t packaged in neat little bows. Their histories are sad, their feelings raw, their futures uncertain.

If Intermission isn't profound, it's got boisterous humor and energy, with U2's rollicking "Out of Control" leading the charge. Given the grimness of many Irish tales, Intermission represents less of a pause than a burst into a fresh direction.

Plays more like a gritty, episodic British independent film powered by a soundtrack of Who songs that illuminate the main character's turbulent emotions.

LaBute never loses sight of what shape he wishes this crafty story to take. In the end, his aim is true.

If you like Redford, Spy Game will be a real treat: a fast electric thriller full of the old Sundance charm and pizzazz.

A small movie about big emotions, with Green capturing the rush of love and sting of heartbreak with great vividness.

An offhanded, dizzy tale of uncompromising love in a wobbly world. Its main characters often can't see or stand up straight, but they never lose sight of that one person who occupies their hearts. [29 Aug 1997, p.A]

Smart and well-crafted, and it boasts complex characters, effective star turns and evocative photography of a small Alaskan town in summertime, when the sun never sets. It's a solid Hollywood thriller.

The biggest surprise may be what the filmmaker doesn't show; he withholds a big dramatic payoff, so the audience must fill in the blanks.

Never quite transcends its movie-of-the-week trappings. But either you're glad to have spent time with these three generations or you aren't. Bottom line: I was.

It's refreshing that a family movie dares to be as emotionally charged as this one, but you wish Miller had paused before he piled everything on and said to himself, "That'll do."

When a loving son makes a documentary about his father, you can forgive him for laying it on a bit thick - especially when his love for his subject, Ron Santo, is shared by an entire city.