Peter Stack

Director Jacques Audiard beautifully lays out the story of a charming nobody named Albert who becomes a master of the half- smile and nonchalant gestures of deceit. But the story is also a cogent metaphor for French collaboration with the Nazis.

They ought to forgo the formalities and simply give Nick Nolte his Oscar right now for what is one of the great performances on screen, in this season or any other, in Prince of Tides, a sensitive, emotionally explosive jewel directed by Barbra Streisand, who also co-stars. The powerful, haunting drama opens today. [25 Dec 1991, p.E1]

I laughed so hard, my eyes watered. I laughed so loud, I lost track of whether anyone else was laughing. I laughed so much, I ached afterwards. [29 July 1988, Daily Notebook, p.E1]

Set It Off blends action and urban drama effectively, but at times isn't sure which foot to lead with.

The film, "suggested by" John Irving's novel "A Prayer for Owen Meany," is so unabashedly manipulative -- and implausible -- that even while crying, many viewers may also feel abused.

A surprisingly clever lunatic comedy that may prompt some sniping from liberal fussbudgets, but has undeniable comic vitality. [15 Oct 1993, p.C1]

It is far too sophisticated and operatic to be dismissed as simply a cheap-thrills, blast-'em blowout. [19 Aug 1994, p.C14]

It's an amazing actor who can carry a movie by simply sitting calmly in a chair. That's what Christopher Walken does in the comedy-thriller Suicide Kings. He's so good, one hardly blinks.

The film is a fairly happy excuse to give the beloved dinosaur some room to do what he likes best -- sing kid-friendly songs and peddle a twinkly message that imagination and kindness are good things.

Though the dialogue is laced with the colloquial, the film has an inviting tone that even stuffiest of old fogies may find refreshing. Everybody gets put down, but with affection.

Has an odd mix of quickly grabbed handheld shots and scenes of striking beauty.

Shore possesses only two talents -- his ability to assume yoga-like positions and fondle his own behind, and his mystifying knack for getting starring roles in bad movies.

Gentle, wacky, down-to-earth and romantic.

3 Ninjas is shoddy, violent and numbingly pointless, an action comedy in which three brothers spend their summer practicing martial arts under their grandfather's tutelage. [07 Aug 1992, p.C4]

As a coming-of-age melodrama and high seas adventure, White Squall is fair.

It's forgettable matinee fodder.

The music and wizard DJs in Groove are better than the dopey story.

A desperate, pathetic mess.

There may not be a better- acted film this year.

Mr. Holland's Opus is a glowing tribute to the unsung heroics of those rare, gifted teachers who make a difference in life. Richard Dreyfuss, in a performance that both touches and inspires, plays music teacher Glenn Holland.

As pleasantly earnest as Jim Belushi tries to be, and as pert as Linda Hamilton is as his plucky wife, their new movie Mr. Destiny is so contrived, pokey and predictable that it becomes a test of viewer patience. [12 Oct 1990, p.E5]

Only a couple of good gags in its pileup of otherwise lame jokes keep the production from being an unqualified stinker.

It's the kind of movie that crumbles into trash -- non-recyclable -- if you spend more than 10 minutes thinking about it. It's designed for dumb fun, and delivers some. [10 July 1992, p.D3]

Doesn't quite measure up to the extraordinary sweetness of the classic children's book by E.B. White on which it is based. But then again, how could it?

It will be the most talked-about comedy of summer.

Among the great American crime movies, 1973's Badlands stands alone. [13 Feb. 1998]

Yonkers Joe is incoherent, succeeding neither as an exciting gambling ride nor a touching family story.

The characters are beautifully drawn in this bittersweet melodrama written and directed by Mark Herman.

A skillful exposition of the pain of pro wrestling, and the high price participants pay in terms of physical and ego injuries.

The glimpses of religious life bumping into secular passion are touching and warmly comic.

For all its hip, rat-a-tat dialogue and a sharp photographic look that give Wall Street a feeling that something exciting is happening, the movie's a bankrupt deal. [11 Dec 1987, p.E1]

A stupid comedy with toddlers talking like hip '90s grown-ups.

This disappointing comedy, which seems to move at a snail's pace, is almost saved by the gorgeous scenery and settings, crisply photographed. Locations include the Grand Hotel du Cap Ferrat, Beaulieu-sur-Mer, the harbor at Juan-les-Pins, and other lovely spots on the Cote d'Azur. [14 Dec 1988, p.E1]

If there is no other reason to see An American in Paris than its fabled 18-minute ballet scene -- well then, that, during the last reel, is worth the price of admission. Choreographed by Kelly -- no doubt with a smile -- it is a stunning series of homages to French painters Toulouse-Lautrec, Dufy, Utrillo, Renoir and the like. It is a masterpiece of filmic creations -- nothing quite like it before or since. [11 Dec 1992, p.C11]

If you ask too many questions about Jacob's Ladder, you're likely to burst the bubble. For all its emotional sizzle and spit, it leaves you hanging. Yet the ride to Lyne's middle-of-nowhere is almost worth it. [2 Nov 1990, p.E1]

A humongous animation event that ratchets up the level of the computer art that Hollywood is swooning over these days.

Mystery Science Theater 3000: The Movie is a tough call to recommend for everyone. But for a goofy time laughing at stupid comedy with otherwise intelligent people, it might be just the ticket.

The pieces of the drama are put forth like the shapes of the five fingers of a hand, and finally they find a kind of awkward unity that was predictable from the start. And yet, the gesture of it all is utterly captivating, the way a dream would be if it ever really came true. [27 Feb 1987, Daily Datebook, p.74]

Mixed Nuts, opening today at Bay Area movie theaters, is laced generously with chuckles, though it neglects one little detail that helps make movies satisfying: a plot. [21 Dec 1994, p.E1]

By now, fans of the studied loveliness of Merchant Ivory films savor that they aren't pat, slick or especially action-packed. A Soldier's Daughter Never Cries is a fine example -- themes percolate and evolve into poignancy.

For fans of Westerns, the film may have particular appeal. Its period gear and garb and galloping horses are major attractions

Leaves an unintentional unpleasant aftertaste.

A convoluted mess, but there have been worse.

Braveheart comes up short by beating the drums of human treachery and violence so loudly they become assaults.

My Neighbor Totoro is drawn in an expansive, naturalistic way that makes an atmosphere of trees, rice fields and hills unraveling in the distance a hypnotic shadow character. In some scenes this nature is so delicious it becomes a poetical presence. [08 May 1993, p.C3]

They fractured Greek myth but slapped mountains of comic muscle on the hunky hero in Hercules. What fun! The great old Greek is turned into a '90s-style athlete who gets endorsements, sandals named after him and a chance to stand tall among nymphs and muses after whipping the villainous lord of the underworld, Hades, personified as a Hollywood movie mogul type.

Sappiness and romance always are fine with me, and Big is a good example of a movie that effortlessly blends sweetness and fun - it feels a little like stumbling on a picnic of smiles. [3 Jun 1988, p.E1]

Can make a person sick in two ways at once -- through its lowdown raunch and through the spasms of laughter that use stomach muscles one might not have known existed.

This is a funny novelty, no denying it.

French director Claude Berri's exquisite, methodical Lucie Aubrac is a romantic thriller so tightly drawn it almost leaves one breathless.

Some folks will have no trouble being inspired by Rudy's story; some will feel as though they boarded a sinking submarine. [13 Oct 1993, p.D2]

Even if it's too self-conscious, "Going All the Way," set in 1950s Indianapolis, nevertheless has a mix of the sweet and the forlorn that somehow works.

Angels in the Outfield may not be a great baseball movie, but it is a cheerful line drive as a story about having faith when the world seems stacked against you.

A joyous, hilarious send-up of rock star pretensions and an enchanting celebration of "girl power" in pop culture.

Overall, the film sparkles. But it's a curiously unaffecting sparkle, an example, almost, of how the special effects stole Christmas.

Its dazzling special effects make its combatants flip and fly, spin and soar, all the while punching and kicking each other like jackhammers, only to leave viewers utterly unmoved.

Its virtues of crisp, uncluttered photography and striking performances are frustratingly undermined by the muddled pretensions of Hungarian director Peter Medak. [09 Nov 1990, p.E7]

Although the film doesn't live up to complexities of the human issues -- nor the awesome tragedy -- that must have been faced in real life, what you feel watching it is a mixture of horror, moral self-examination, a tinge of inspiration, and -- let's face it on these winter nights -- you feel cold. [15 Jan 1993, p.C1]

The Beverly Hills Cop formula shows serious signs of wear in its third outing as Eddie Murphy tries desperately to hold onto his tough-guy, mock-grin edge while screenwriters and director John Landis do little more than stir-fry lame gags with furious but tiresome fusilades of gunfire. [25 May 1994, p.E1]

Bucking the lava tide of computer special effects gushing out of Hollywood this season, the makers of Breakdown use old-fashioned ingenuity -- plus a compelling star, a fast- paced mystery and a deadpan villain -- to come up with a sizzler.

When the action is extreme, GoldenEye is supercharged with spectacular, thundering, brain-numbing fun.

A brilliant performance (Walken).

The film, with Newman's riveting performance, is an exceptional portrait of an oddball politician who is equal parts scoundrel and folk hero, wielding power with a quirky, almost cantankerous charm, while also pulling strings in a loyal and powerful Southern political machine. [13 Dec 1989, p.E1]

Robert Redford's sensitive, unhurried movie of A River Runs Through It is so faithful to the book that it becomes that rare thing - a beautiful celebration of the power of literature. [09 Oct 1992]

Robin Williams and Billy Crystal, teaming for the first time on the big screen, are moderately fun but suffer from what looks like a case of too-calculated Hollywood packaging.

By any measure, the horrifying yet powerfully uplifting Schindler's List from director Steven Spielberg is a milestone in the art of filmmaking. [15 Dec 1993]

It is aimed primarily at children, and its affectionate treatment of animals is certain to please most of them.

Director Leon Ichaso (A Kiss to Die For) is intent on presenting the Harlem story in near-operatic terms, but ultimately the beautifully rendered, photographically engaging Sugar Hill is crippled by its own self-importance. [25 Feb 1994, p.C1]

The movie keeps a snappy pace and the suspense pot boiling. The snippy interplay between the two cops adds enjoyable twists of comic chemistry. Constant rain and slick streets, though a cliche, set a moody tone. [07 Oct 1996, p.D2]

Well acted, well crafted and might have been a truly searing drama if it weren't so simplistic, pat and predictable.

The film is never truly funny, but it's an amusing novelty, gaining strength from smart characterizations and sly cogency about the way people are exploited under the limelight of celebrity.

Ghosts of the Mississippi doesn't glorify in happy endings. That's because it haunts with the reminder that racism remains an unhealed wound.

It's a feel-good deal you can take the whole family to, or even better, a date. And this almost cuddly film, built on a farfetched case of mistaken identity, delivers plenty of fun.

Both a delightful story and a great food movie that ranks with "Like Water for Chocolate'' or "Babette's Feast.''

An unforgettable, poetic romance from Italy whose disarming humor, blushing encounters and bittersweet flavors are certain to set off a groundswell of smiles, tears and regret.

The River Wild may be the season's most exhilarating family entertainment. [30 Sep 1994, p.C1]

The plotless Dennis the Menace is nonsensical and playful and, in its way, creates a pretty dreamworld that is a foundation of good escapist entertainment. In addition, Walter Matthau takes good-natured grumpiness to new heights as legendary curmudgeon Mr. Wilson, opposite a kid named Mason Gamble, as Dennis, who (another minority opinion) acts circles around Macauley what's-his-name. [25 June 1993, p.C1]

Director Sidney Lumet takes another shot at New York City police corruption in his new film, but despite some solid performances, Night Falls on Manhattan fails to deliver the passion of such Lumet classics as "Serpico" and "Prince of the City."

One of the most haunting and vital movies of the year.

The crack in the pretty picture of America goes a lot deeper than we thought, thanks to Ray's brooding vision.

While there's enough to keep the viewer sort of interested and amused, ultimately the whole affair is a trip to nowhere with characters who are more caricature than real. [29 Sep 1990, p.C3]

Strains through buckets of verbiage and muddled plot to seize only a few dopey laughs.

The darker this visionary film gets -- and it gets very dark -- the less comic and the more chilling it becomes. At the same time, it grows more brilliant as a view of modern society poisoned by a battering incivility or cruel exploitation that, in Leigh's view, is played out most profoundly in gender conflict. When ''Naked'' isn't beaning your brain, it's twisting a screwdriver between the wires of your nerves. [28 Jan. 1994, p.C1]

Bulletproof is a raunchy exercise in macho posturing -- but thanks to a layer of satire, the new action comedy at Bay Area theaters provides a few zingers of lowbrow entertainment.

Long segments of The Killer are devoted to people getting blown away, the bloodbaths played out always with guns. But the highly choreographed action, featuring point-blank shots of writhing victims, takes on a numbing aspect after a while. Reduced to cartoon overkill, it becomes as tedious in its way as carpenters working with nail guns.

Aspen Extreme is an extremely slow-moving story about romance, buddies and skiing in the famous Colorado town. With a pleasant cast of mostly unknowns, except for Finola Hughes (''General Hospital's'' Anna Devane), it almost saves itself with spectacular downhill action scenes. A big almost. [23 Jan 1993, p.C3]

Director Breathnach is in no hurry to pump up the action in this easygoing, episodic on-the-road adventure, and the slow pace may wear thin for some viewers. More than anything, I Went Down is a cleverly observed character study of two losers who find they suddenly stand a chance at winning.

Narrow Margin has a couple of moments of unabashed hokeyness and some predictable turns of plot, but considering that it's designed to do nothing more than provide escapist fare for 97 minutes, and that there are a dozen surprise twists, it hardly seems to matter. Like a train ride itself, you get into the swaying swing of things, and to hell with credibility. [21 Sep 1990, p.E3]

RoboCop 3 ought to be a lot more mean and harrowing a sci- fi thriller than it is. Yet it still has a wicked humor underneath its prophetic grin. [05 Nov 1993, p.C3]

An unblushing sex farce often so raw it might make even fairly open-minded people feel a bit uncomfortable.

Stupid yet cogent, High School High is a rapid-fire gag machine that's dopey enough to get belly laughs and smart enough to earn a C-plus as engaging entertainment.

As a movie, it's far from compelling. As a thrill ride, though, it's a rampaging special effects and animatronics extravaganza that will make small children cringe behind their seats.

A skillfully observed but never quite satisfying lesbian romantic drama.

Yet for all its faults and limitations, Swing Kids is not necessarily easy to forget. [05 Mar 1993]

Director Manuel Poirier (Antonio's Girlfriend) is easygoing in the way he uses Paco and Nino to poke through veneers of machismo.

Rush is dour, and its danger and its spectacle of mind-melting become humdrum. Still, the film is well-acted and is painstakingly accurate in details. [10 Jan 1992, p.C3]

Forgiving its moments of melodrama, Philadelphia makes emotional power punches out of every smile, embrace and tear in its story of a regular guy contracting AIDS and getting booted out of the law firm that once lifted him to glory. [14 Jan 1994, p.C1]

A forced, implausible flick that loses its energy as it tries to gain momentum.