Mike Clark

Glossy or not, the movie is unflinchingly tough-minded, down to its Hollywood-weepy ending, which, if you think about it, may be the year's gloomiest.

There isn't any kind of dance you can compare to Robert Duvall's latest as an actor/director, though a slo-mo minuet might come close.

Like many frugally financed movies, director Ang Lee's charmer depends on characterizations, not flamboyant technique. [19 Aug 1993, p.4D]

The movie is more compelling than exciting with one exception: the kind of rocket blast-off sequence for which IMAX screens were seemingly invented.

This crumbled-caper comedy is the funniest movie ever from a film maker late in his eighth decade. [22 July 1988, Life, p.4D]

A minor delight but a delight just the same.

An enjoyably cast, superbly shot, jolt-generating device...It isn't art, but it'll crush your bones.

A strong first half has Jill Clayburgh oozing bile when weasel husband Michael Murphy dumps her. Writer/director Paul Mazursky's sexual-political screen landmark wobbles some when she takes up with artist Alan Bates. [13 Jan 2006, p.14D]

The script strives to turn Garcia into a nasty Gere alter ego, which may explain why both leads solemnly underplay it. Though Gere's contribution is welcome, two hard-ballers in shades may be one too many; on balance, it's the actresses (especially ever-solid Laurie Metcalf) who sustain interest. [12 Jan 1990, p.2D]

What we're left with is solid if not exceptional, though it's good to see Mendes expanding as a filmmaker.

This movie will remind a lot of people of John Ford's masterpiece, "The Searchers," without the rowdy humor and, yes, without the greatness. But it's an admirably solid effort that's as mean as it has to be, which is plenty.

A two hour aquatic pursuit pic with bruising stunts, fun-to-watch performances, a dozen good chortles and imposing Panavision renderings of post-apocalyptic crud, Waterworld clearly has the makings of a cult movie.

This may be the most uncompromisingly raw police drama since "Across 110th Street," starring Anthony Quinn and Yaphet Kotto.

Easy to tumble for. [9 February 1996, p.D4]

While this movie is sometimes overbaked, it is the first major studio release in a while to engross wall-to-wall.

Generally unheralded, this is one of the really good Douglas performances, smoothly matched by Fonda's. [12 Jan 2007, p.6E]

Beguiling Victoriana. [18 July 1997, p.4D]

Even without the surprise of seeing Spader going for laughs and getting them, Secretary is just too original to be ignored.

A movie of moments whose ultimate legacy may be to get Carrey out of formula comedies forever.

A much better version and one of the most popular 3-D movies. [03 May 2005]

This isn't a polished work, but anyone who's ever spent time on the movie-making edge will recognize it as a true one. [28 Aug 1992, p.5D]

For much of its length, the premise seems less wilted than you'd guess. This is because, for one thing, Mendes gives as good as she gets.

Preposterous yet solidly entertaining.

Two films in one: an intriguing child-disappearance mystery and an uncommonly affecting domestic drama realized by four terrific central performances.

The distanced result, screen-adapted by playwright Christopher Hampton, never quite overwhelms you. [21 Dec 1988, Life, p.1D]

Grimly claustrophobic movies can make viewers put up a shield, yet Tim Blake Nelson (who directed O) invests this unusual Holocaust drama with dramatic intensity that in no way cheapens its subject matter.

A mildly satirical but essentially sweet, benign comedy.

This movie doesn't make you think you are watching art. It's closer to a high-end TV movie with lots of familiar faces.

As easy to enjoy as picking up a spare, and we don't mean a tire around the waist.

A decent Korean War/collaborator court-martial drama, directed by Karl Malden (his only directing effort), and starring Richard Widmark. [15 May 2009, p.3D]

Trashy and disturbingly violent yet fairly zippy and amusingly cast.

The star interplay and anachronisms recapture some of the surreal spirit of the Crosby-Hope Road movies, and the end-credit outtakes are funny enough to sustain that getting-hoary device for at least one more picture.

As inspiring as the story wants to be, its real drama is mired around the edges, where we get a sense of what it is really like to be born into a brothel.

City loses some bearings in its second half, becoming a ragged collection of punchy action scenes. Big deal. It's also one of the most enjoyably ragged examples of fuzz vs. scuz since 1972's Across 110th Street. [8 Mar 1991, p.2D]

Though no film for the ages, it's two grown-up hours to tickle clear, sharp, minds. [27 Jan 1995, p.4D]

The film is, however, almost inevitably wistful for the past, and many of its emotional touches come from juxtaposed then-and-now footage of the participants.

Once this 2 1/4-hour slow-starter finally finds its rhythm, we're reminded of how gripping policy give-and-take around a long rectangular table can be.

Even when there are lulls, the emotions seem authentic.

Their performances may not get touted on many year-end movie lists, but the Kemp brothers - Gary and Martin - are the make-or-break element of the spotty but often gripping The Krays. In this case, happily, it's make. [09 Nov 1990, p.4D]

If you end up cursing, try not to forget The Abyss' spectacular oil-rig collapse, a killer chase scene, two fine leads, and one Oscar-worthy "creature'' special effect midway through. Do forget the rest - unless you really dig Casper, the Friendly Ghost. [9 Aug 1989, Life, p.1D]

Worth a look. It's easy to overrate -- but just as easy to undervalue.

Bottom-line funny, often convulsively so. [2 Dec 1988]

Knowing and original, Men's comedy never quite soars. Yet jump it does, and high enough. [27 Mar 1992, p.1D]

Another of director David Cronenberg's queasy early horror films that, like The Brood and Videodrome, gets under your skin. [04 Jun 2004]

The movie wouldn't be imaginable without its commanding star. Nicholson is in virtually every scene underplaying to great effect

Without making a big deal of it, this film says a lot about assimilation and the ability to change. [05 Feb 1992, p.5D]

This time, Lee fails to do the right thing, but he may have come up with a cult film. And compared to too much of this summer's sludge, that's almost mo' better enough. [03 Aug 1990]

Gives Dennis Quaid one of his best screen showcases.

Sky High gets Kurt Russell back to his retro Disney roots, and he's still in good enough shape at age 54 to wear a supernatural hunk's cape.

Victor Mature became a star in the 1940 original, which was simply called One Million, B.C. Happy New Year, Vic, but nothing in your version can compete with a blond Raquel Welch -- she wearing the latest '60s open-navel cavewoman garb here [27 Dec 1996, p.3D]

The movie, which ends on an unexpected note of wistful humor, also gleans gentle and non-derisive chuckles out of Fin's physical state.

Though some have taken this '94 film fest fave fairly straight, it strikes me as eerily arch and quite the sly hoot as it connects maybe two-thirds of the time. [07 Mar 1995, p.4D]

Flowers is smartly observational -- but a little screen heat would be worth a bouquet.

This is a movie to be knocked, chewed and gummed, but not dismissed. It's the first 2001 release I've rushed to see twice.

Once you're onto its wavelength (it doesn't take long), Linklater's passing parade starts to ring true. [15 Aug. 1991, p. 5D]

Though this is a tough movie to dislike, it plays more like a second draft than a final product.

Often a cinematic marvel and often the year's most pungent movie medicine, Beloved always feels as if it's carrying the world's weight, and maybe it is. [16 October 1998, p. 7E]

Peter Hyams, who merely wrote, directed and photographed this loose remake, has refined (and in many ways, improved) the material by adding a helicopter-car pursuit and other nifty boondocks action. But mostly, it's Choo Choo Ch'Boogie - just as it is in the punchy RKO original, a 70-minute staple of cable TV. [21 Sep 1990, p.6D]

The film doesn't preach against the government in Rock's behalf, but does sympathize with her plight - a genuinely loving mother and former child-abuse victim who probably is unable to live up to her maternal aspirations. [09 Dec 1994, p.8D]

A good little movie dominated by a great central performance that's likely to endure. [30 Jan 1998, p.D2]