Michael Wilmington

Technically clever but emotionally bankrupt...it's an almost laughably opportunistic movie.

What's remarkable as we watch Lilya's plunge (and the brief, false rays of light that illuminate it) is how real Moodysson makes her plight, how intensely he makes us empathize with Lilya.

It may entertain you if you don't mind senseless stories and screaming soundtracks.

Much-loved 1942 piece of super-romantic schmaltz. [19 Jul 2005, p.C3]

Such a triumph of simplicity, subtlety and tact--and of the eroticism in words, looks and glances--that the actors ravish us with sheer talent and intelligence.

The whole movie plays like an improbable blend of "Repulsion," "High Noon" and the archetypal low-budget rape/revenge shocker "I Spit on Your Grave." Queasy audiences beware, but midnight-movie bookers take note.

Few recent movie romances have a more chilling and peculiar feel -- and a more sobering aftertaste -- than Neil Jordan's heart-rendingly cold adaptation of Affair.

Blazes up constantly with a stunning, off-kilter brilliance, an incandescent force that sometimes explodes the space between us and the screen.

Beautifully produced: a moving film with a fascinating story and exemplary acting.

A likable little movie without much to offer but cute tots, recycled gags and a talented cast amiably wasting their time and ours.

Outrageously vapid and overdone movie.

The movie is like the bikers; it's best and freest when it's just racing ahead. Whenever it stops, you ask too many questions.

As a whole, though, the movie is much less magnetic or believable than its star.

A classy triple shot of film erotica from three brilliant writer-directors.

The movie itself, defying all odds, comes close to a knockout.

If the uncut Fanny and Alexander is Bergman's greatest work, as I think, it's because it's his most inclusive. He shows almost everything: all his moods, conflicts, styles and many of his favorite actors.

It's a weird little movie that's amusing enough while you watch it, offering fine acting moments and pungent insights into modern L.A.'s show-biz and media subcultures. But it doesn't leave you with much.

Songwriter bio on Gus Kahn (Danny Thomas); Day is his long-suffering mainstay. [13 Apr 2007, p.C5]

Some movies can lay claim to being the best thing around in a week, a month, a year. Robert Altman's Short Cuts is closer to being one of the all-time bests, among the finest American films since the advent of sound. [22 Oct 1993]

The film's mood and style are pitched somewhere between '60s American indie and French New Wave and, as you watch these people, they seem painfully, amusingly on-target. They may irritate you a little, but that's the right response.

Intoxicatingly well-crafted entertainment about hunting down your enemy.

A smart shocker, scripted by Twilight Zone regulars Richard Matheson and Charles Beaumont.

A tender, visually stunning comedy-drama.

This jolting tale of a 12-year-old girl possessed by the devil, her desperate movie actress mother and the two priests called in to exorcise the demon, actually seems a deeper movie now -- more intense, less formulaic or shallow. Yet it's also retained all its original hypnotic narrative grip. [2000 re-release]

All these good actors and all Crystal's sass and witty candor can't bring back the heyday of Billy Wilder and Preston Sturges. Or even, most of the time, their off-days.

The acting -- especially by Borrows, Ian Hart and Hackett -- is strong and transparent, utterly convincing. The whole movie has a seamless flow and an utterly convincing sense of time and place.

It's a movie drama with a surface so bleak and an interior so hot with eroticism that it twists your guts to watch it.

Whatever magic the first two movies may have had -- and it wasn't always that apparent to anyone over the age of 10 -- has long since congealed, like stale pizza. Or mock turtle soup. [22 Mar 1993, p.F9]