Michael Wilmington

A blithe classic with Gershwin songs, Fred Astaire and Audrey Hepburn. [03 Oct 1997, p.10]

Heavily influenced by Sternberg's "Underworld," this is one of Ozu's oddest, most enjoyable departures; it reveals him as a first-rate noir director. [09 Jan 2005, p.C11]

The star, again, is Mizoguchi's favorite actress, Kinuyo Tanaka, and the style is magisterial, exquisitely controlled--with Mizoguchi moving the story inexorably to an almost sublimely redemptive climax. [24 Mar 2006, p.C7]

The screen's most magical tale of the world of theater is this lush, intoxicating period epic: the summit of the collaboration of writer Jacques Prevert and director Carne. [12 Jan 2007, p.C3]

Most of the jokes in Eddie Murphy Raw are the kind you regale buddies with to show off. Anyone as good as Eddie Murphy should have outgrown that years ago.

It's Whoopi Goldberg, however, who gives you something extraordinary. At the center of all this formula tongue-in-cheek thriller pablum, she keeps sending out weird curves and bent splinters of off-center energy. She's a remarkably empathic actress, and you only hope she'll get a few vehicles that push her to the limit.

Superb, vibrantly emotional drama. [27 Apr 2001, p.C1]

The movie's great end-title sequence redeems everything. Under the credits, we see and hear the real-life game veterans as they are now--including, movingly, ex-Lakers coach Riley.

Hollywood's great holiday musical is this sparkling adaptation of writer Sally Benson's memoir: a movie that takes us on a Currier and Ives 1903 holiday tour of St. Louis with the postcard-perfect Smith family. [08 Jan 2004, p.N1]

A modernized version of that great sentimental horse movie, 1943's "My Friend Flicka," and it comes with the shiny trappings, high professionalism and glamorous accessories you might expect...Something is missing though.

It's possible to admire or respect a movie without enjoying it too much, and that's partly the reaction I had to Darren Aronofsky's The Fountain. It's an incredibly ambitious film of sometimes thrilling visual achievement, but it didn't connect fully to my mind and nerves.

This movie offers four of the best -- and best-looking -- Hollywood stars cavorting together in material so slight and inconsequential it often seems ready to float away like a toy balloon. [16 Oct 1997, p.1]

A near-classic blend of mystery, personality, humor and terror, laced with one stunning shock after another. [18 August 1995, Friday, p.C]

It has ideas as well as jolts, themes as well as special effects, characters as well as gore. But, as adapted by writer W. D. Richter and director Fraser Heston, these Things seem disappointingly diminished, squeezed and stuffed into a box too small.

One of the most entertaining movies this year, and one of the few that shows real invention and audacity, along with big-studio technical flash. [8 June 1986, p.C27]

Too rich, too loaded, Maverick may have misplayed its cards, kept its eyes on the pot instead of the players. In movies, as in poker, you can't always trust a pat hand.

It’s not a bad film. Brightly designed, slickly paced, it has its cargo of youth elements: laughs, sexual tease, action and music. But, halfway through, you can almost feel everyone relaxing, waiting for the next bit of spiritless slapstick or car-chase to carry them through to the end.

This is a movie that rocks and socks you, and has a performance by Washington that's ruthless and scary. But in the end, it leaves you unmarked.

there's no joy in this movie. It's a safe, compromised, even preachy, fable; a wannabe hip romp that never gets going. [07 Jul 1995]

The two halves of Hiding Out--thriller and teen sex comedy--never meld, working against each other rather than together. Hiding Out never escapes its absurd hook, this mechanical collision of genres. After all, if someone really needs to hide out, isn't the best plan to simply . . . hide out?

A sports bio movie that I really enjoyed about a sport and sports hero I barely knew existed: the World Hour Record competition for bicyclists and its gutsy, tormented and most unusual champion, Graeme Obree.

Three Men strikes a funny chord. The audience seems to want to believe that these guys can be domesticated, but on another level, they don't want the trio broken. They want bachelor fathers, domesticated swingers.

Instead of an escape from Hollywood’s cookie-cutter plots, it’s a retreat back into them, only the sexes have been changed.

Two suggestions as you watch it: Never take anything for granted, and keep your hand on your wallet as you leave the theater.

Mystic River is classic Eastwood, classic noir. If there is still some doubt about whether this one-time macho star is actually a world-class moviemaker, Mystic River should end the argument for good. One of the best American movies of the year, crisply well-crafted and beautifully acted.

It's a real shame that most new boxing movies try to copy the crowd-pleasing, sentiment-choked tactics of "Rocky" rather than the stark drama of "Raging Bull" or the realistic grit of "On the Waterfront" and "The Harder They Fall." Against the Ropes is only the latest sorry example. The sad thing is that, with this real-life story and subject, it could have been a contender.

It's a movie of uncommon eloquence and elegance, acted by a truly gifted cast.

Cheerful but mind-numbing.