Mark Caro

You can interpret Lost in La Mancha as a sort of triumph of the creative spirit. Gilliam's darkest gallows humor always comes with a smile.

It creates a strong sense of a living, breathing community, and you root for its affectionately drawn characters as they experience the giddiness of triumph without forgetting the project's bittersweet inspiration.

The writing remains more intelligent than most thrillers, and the action is executed with such panache that even if you don't buy the reality of The Matrix, it's a helluva place to visit.

The biggest missteps come toward the end, when Prince-Bythewood's storybook instincts get the best of her and force a wrap-up that doesn't feel earned.

Corny and far-fetched it may be, but Frequency works - except for some stretches when it doesn't.

The Spider-Man saga is a classic for a reason, and the filmmakers don't squander the material's strengths.

Welcome to Mooseport isn't a belly-laugh farce. It's more along the lines of a "My Cousin Vinny," where you just enjoy almost everybody who crosses the screen. Such a comedy these days is more than welcome.

You watch the movie with an ongoing feeling of dread, and it's not a feeling that ever dissipates.

You find yourself tricked and having enjoyed the experience after all.

More thoughtful than advertised. And as a confection, it's less sweet and more flavorful than your average wedding cake. [20 June 1997]

The movie sticks with you, thanks to LaBute's observational powers and the three impressive lead performances. [15 August 1997, Friday, p.C]

A classic haunted-house story enshrouded in fog and steeped in portentous atmosphere. It gives you a case of the creeps oh-so slowly, then hits you with a clever, mind-warping way of saying, "Boo!"

Although not all of the movements are fleshed out to their full potential, The Red Violin still attains a certain symphonic grandeur that -- at a time when so many filmmakers are churning out cinematic ditties -- deserves to be applauded. [18 June 1999, Friday, p.A]

The outline of Murder by Numbers may be familiar, but the filmmakers and Bullock do an expert job of filling in the colors.

Against all odds this "Terminator" deserves to be welcomed back.

The surprise here isn't that 15 Minutes isn't a masterpiece; it's that the movie works at all.

Boasts the elements of something greater than a love story. Too bad it devotes them to something less than a great love story. [22 November 1996, Friday, p.A]

Captures the complex dynamic of a mentoring relationship like few movies before it.

Always engaging, never boring. You constantly appreciate Kaufman's intelligence and Gondry's lively filmmaking.

Reflects the sensibilities of its director, whose comedic performances in particular have indicated a game spirit and droll sense of humor.

A well-told, vividly imagined movie that doesn't pretend to be more than it is and doesn't lean on pop-culture references to win over its viewers.

It's suspenseful. Fleder and his able cast deliver a brisk, entertaining story that, despite straining credulity at times, earns a positive verdict -- no undue audience-rigging required.

Sure, you've seen some of these moves before, but Save the Last Dance triumphantly passes the audition.

As a head-trip movie with a moral, The Arrival engages the mind almost as much as it messes with it. [31 May 1996, p.F]

Fincher has a dazzling command of visual storytelling.

Liman packs enough firepower into The Bourne Identity to please the summer action fan, including a reshot climax that contains one of the niftier stunts I've seen recently. The centerpiece action sequence is a bravura car chase through Paris, yet the moments that bookend it are equally impressive.

Presents a few too many hugs and arguments over what's best for Will. But ultimately, the movie, like its protagonist, boasts an integrity and intelligence that are tough not to admire. [25 December 1997, Tempo, p.1]

These post-Unforgiven westerns are a tricky business. The classics were mythical morality tales, good vs. evil played out with pistols and black and white hats. But look at today's headlines: Killing is rampant, guns are a plague and violence is no joking matter. The somewhat overlong Tombstone ultimately can't reconcile these conflicting impulses either, but at least it consistently entertains as it tries. [24 Dec 1993, p.C]