Michael Wilmington

A Perfect World proves again, if it needs proving, that Eastwood's directorial signature is among the strongest and surest in American movies. [24 Nov 1993, p.1C]

It's impossible, when we watch "I Am Cuba" today, not to see some poignance in its soaring shots, sadness to its thrilling vistas. [08 Dec 1995, p.C]

Frank Sinatra and his Clan knock over Vegas. [07 Dec 2001, p.C1]

The movie is like a big, smug, sunny ball of fluff, batting around in a crystalline cage. It's bright and well-meaning, but there's little to grab onto or feel. Not even the presence of those expert actor/farceurs, Steve Martin and Diane Keaton, give it any real presence or bite. [20 Dec 1991, p.16]

An old nightmare, made shiny new.

This seedy Barfly is beautifully written, acted and directed. It may be full of dank desire, wasted love and jesting misery--but it blooms. Whatever its flaws, it does something more films should do: It opens up territory, opens up a human being.

A loathsome shocker... Watching it almost turned my stomach.

It's a film objet d'art to contemplate and treasure.

One of the most honest movies ever made about male friendship. [13 Feb 1998, p.N]

The first, and best, of the three versions of Charles Dickens' tale of the French Revolution. [05 Dec 2008, p.C5]

Honest, poignant and very funny, full of memorable, moving moments.

This magnificent pair are the heart of Techine's film, and the sense of frayed, aging beauty and handsomeness they now carry helps project the picture's main theme: the imperishability of true love.

One of the most remarkable English-language feature debuts of recent years.

The Bedroom Window engrosses you in theory more than practice. As a thriller, it has elements that many recent Hitchcock pastiches have lacked: interesting characters and a somewhat complex plot. But perhaps this story simply looks good by contrast. The movie also lacks sheer juice and voltage. [16 Jan 1987, p.C17]

This is a picture in which the barf scenes standard in the usual crude youth comedies aren't gratuitous. They're logical climaxes.

Tape may not be a great movie, but it's a great demonstration of creativity within severe limitations.

Commands respect and affection. [2 June 1989, Calendar, p.6-1]

Exactly the sort of personalized, non-assembly line treat some audiences are always trying, in vain, to find.

London's Fang was, fundamentally, a loner and a killer; the movie Fang is a big, friendly dog, temporarily derailed into the fight game by snarling villains. That makes this White Fang, rather oversunny, overaffirmative, primarily a movie for children. But I liked it anyway, despite the softened tone, the coincidences, despite Hawke's constantly gaping mouth.

A brilliant entertainment, full of bemused skepticism and reckless, prodigal love -- for these people and their vanishing era and lives.

There's something ridiculous in the picture, but something sublime as well. It would be a shame to miss either, a pity not to open your eyes as well as your heart. [25 May 1994, p.1C]

His (Dafoe's) re-creation of Schreck is an Oscar-level performance, but more than that, it's an unforgettable one: great, scary, horrifically funny.

A blend of the classical and the trite, the beautiful and tawdry, the genuinely moving and the cornball. Oddly, producer-director-star Costner often can't seem to tell the difference.

If the real-life story is genuinely inspirational, the movie stirs us as well.

A film made by a master, with a simplicity that is really revolutionary. It's a work capable of changing the ways you look at the movies - and at life.

Whatever may be flawed in Oliver Stone's searing, full-torque new war movie "Salvador", one thing about it is burningly right: It's alive. It broils, snaps and explodes with energy. The events (condensed from two years of battles and political upheaval in El Salvador) fly past at a murderous clip, hurtling you along almost demonically. [10 Apr 1986, p.6]

A jaundiced look at the CIA, bolstered by a terrific cast. [14 Sep 1986, p.6]

Parents is all leftovers, despite the tasty little tidbits that Quaid and Hurt keep sporadically cooking up: Dad's spotless collars and loopy grin, Mom's brittle Cutex-lacquered claws. [27 Jan 1989, p.7]