Mike Clark

Oscar-nominated Angela Bassett suffers and flaunts the dresses in this smashingly performed Tina Turner bio - a rock-feminist manifesto that also earned Laurence Fishburne a nomination for humanizing Ike Turner, the Svengali-husband and Menace II Tina with a wandering Ikette eye. Brian Gibson, who directed HBO's as-good The Josephine Baker Story, rarely exceeds the parameters of a competent TV movie; numbers get truncated, and there's minimal period detail over a 1958-83 time span. Yet in a movie inevitably made or broken by its leads, the nominations were justified. [25 Mar 1994, p.3D]

There are some notable oddballs in the filmmaking debut of performance artist Miranda July, whose lead performance in this Sundance winner for "originality" is the most appealing thing about it.

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

With Todd Haynes' direction suggesting a Twilight Zone full court press, this uncommonly rigid movie is either bloodlessly objective or so subtly droll that the joke is beyond comprehension. But given that Haynes previously utilized a cast of Barbie dolls in the brazenly daring Superstar: The Karen Carpenter Story, it's tempting to give him the benefit of the doubt. [21 June 1995, p.7D]

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

Cult director Don Siegel bookended Dirty Harry with this esteemed toughie. [08 Mar 1996]

The movies are so much fun that even detractors of Charlton Heston (Cardinal Richelieu) and Raquel Welch (taking pratfalls as "Constance") readily admit that both carry more than their load here. [01 May 1998]

Nil is harrowing and soul-sapping, a look into the heart of darkness of London's underclass.

Look out for everything, and listen, too, because Suspects is one of the most densely plotted mysteries in memory.

Michael Mann , directs with his standard prejudice toward the sheer physical. The result, almost musical, has only a couple recent movie precedents. [25 Sep 1992, p.1D]

Exhale and enjoy Keenen Ivory Wayans' culturally disreputable I'm Gonna Git You Sucka, a sendup of black street comedy that's equally crude, funny - and sentimental. [26 Jan 1989, p.2D]

Emperor is like Full Metal Jacket - uneven, fuzzy, imperfect, and one of the reasons the movies were invented. [20 Nov 1987, p.1D]

As the suddenly somber Hickey, the traveling salesman who rudely stops regaling assorted skid-row barflies with flip patter in 1912 New York, Lee Marvin is very good in a role that Jason Robards always owned. Otherwise, the actors are all on a "wow" level. [04 Apr 2003]

In a possible breakthrough role, Law would seem to be the big winner.

A case of smart and talented people trying to jam a Cold War square into a Gulf War circle. You can feel the chafing, to say nothing of the burden this capably crafted shrug has taken on.

Plays like a labor of love.

As close as anything could be to a light Mamet comedy.

Despite overlength, this acceptable outing has its moments, most of them in the second half. [17 Nov 1989]

The result may prove to be too much for even cult horror nuts. This complete 121-minute "director's cut" is tough to follow, so you can see why home viewers were mystified by the early '80s Vestron tape that cut nearly 40 minutes out of the movie and scrambled the order of scenes. [2 June 2000, p.10E]

Secret isn't the usual romp, but it's Almodovar's most committed work in years. [7 Mar 1996]

Even at its best, Ride never survives its shaky opening hook.

Rob Reiner's competent-plus wax job on William Goldman's script is keenly orchestrated manipulation. [30 Nov 1990, p.4D]

This being Irving, the story straddles the sweet and the creepy.

No, it isn't the slick and unfocused "Anywhere but Here," where mom and daughter choose Beverly Hills. Instead, it's the more modest and in most cases preferable Tumbleweeds.

Paradis is a most striking subject, but the movie is a winner as well, starting with a story full of black-comic possibilities exploited fully by the great French director Patrice Leconte.

The Crucible shrewdly saves its most potent ammo for the end, audience-friendly showmanship to further signify a bang-up movie. [27 Nov 1996]

Viewers who like clean storytelling may not be happy. Those who savor ironic wrap-ups will be.

A notably undynamic treatment of Protestant Elizabeth I's ascension to the British throne.