Sheila Benson

Bold, sneaky, brilliant Punchline works its change-ups unmercifully. I can't remember laughing this much with tears still streaming down my face, or beginning to weep while my sides still ached from laughing. The closest to it was "Terms of Endearment." [30 Sept 1988, p.C1]

Stand and Deliver itself, with its message of the soaring rewards of learning, aims high and delivers perhaps a B+. But it's already a better, less cliched film than La Bamba, with considerably more on its mind, and its strengths may pave the way for more complex, more demanding stories of the Latino experience for all audiences.

The delectable Babette’s Feast is a fable told with passion, intelligence and sumptuousness. Although it certainly has a feast at its center, it would be a mistake to think that its tribute is intended only for great cooks. No, it’s a deep reverence to all great artists--whether they make books, bowls or ballets, baskets, quilts, songs, poems, paintings . . . or films.

If you want the true, jaw-dropping details of Pu Yi's life, try the biography by Edward Behr, Newsweek International's cultural editor. If you want a staggering and certainly singular movie experience, The Last Emperor will do very nicely. [20 Nov 1987, p.1]

Strangely enough, Married to the Mob, which may prove to be Demme's long-overdue passport to mass audience adulation, may tickle everyone but die-hard Demme fans. [19 Aug 1988]

Jagged Edge is really something. It vanishes from the memory like an old grocery list, yet while you’re in it you’re caught. Shocked, intrigued, confused, unnerved and finally snapped right back in your seat with fright, but held all the way.

Weir's orchestrated The Mosquito Coast's action to match Fox's progressive mental state, from rage to explosion to squalls and finally to hurricane velocity; however, the film leaves us not with an apotheosis, but exhaustion. [26 Nov 1986]

A bracingly outrageous portrait of the playwright, his free-ranging life and remarkably constricted times. It is directed by Stephen Frears and stunningly well played by Gary Oldman, that slight chameleon who was Sid in Sid and Nancy; by Vanessa Redgrave, as Orton's agent and confidante, Peggy Ramsey, and by Alfred Molina as the lugubrious zombie Halliwell.

Jean de Florette is like good peasant bread: honest, chewy, unsurprising and heavily satisfying.

Jessica Lange plays the scrappy '60s singer with sweet ferocity.

But of all the film's choices, the best was Weaver. She's its white-hot core, given fine, irascible dialogue to come blazing out of that patrician mouth, and the chance to look, for a moment, like a space-dusted Sleeping Beauty in her hyper-sleep casket.

Watching the strength of [Nair]'s vision and her craft, balanced by the empathy shown in all her work so far--her earlier documentaries as well--there is every reason to believe that “Salaam Bombay!” marks the opening of an extraordinary career.

One Red Shoe has trying moments (the sewer-man joke; the awful fate of Belushi’s character), but the rest of it whirls by as summer comedy ought to, and rarely does.

Dick Tracy is brash, irresistible fun. Warren Beatty's vision of a comic strip on film comes in paint box-bright colors with nicely irreverent dialogue, a gaggle of crisp performances and one with million-dollar moxie. [10 Jun 1990, p.3]

The actors, many of whom are part of a loose Mike Leigh stock company, are miraculously deft at erasing that line between performing and being.

In the air Memphis Belle is unstoppable, giving us--earthbound and safe--a clear-eyed look at the nuts and bolts of bravery.

The production is as clean and effective as Red October herself; there's not one dial or glowing radar screen too many; the underwater hits and near-misses are clearly choreographed and the undersea intensity is captured perfectly by Jan De Bont's camera work. [2 Mar 1990, Calendar, p.F-1]

All and all, it adds up to a delightful, unpretentious movie, hands down the richest work Whoopi Goldberg has done on the screen.

Joyous, daft and hauntingly original, True Stories is Byrne's magical mystery tour of Texas: an introduction to the imaginary town of Virgil and its faintly surreal folks.

A love of the world of movies permeates the first-class, crackling excitement of F/X, giving a rare dimension to this thriller.

Eventually the film's suspense underpinnings take over its personal story, yet that tension Quaid and Barkin generate still holds.

Cocoon is a sly and salty bit of wish fulfillment that, by its tremendous close, has its entire audience wishing along with it. The combined energy it generates is probably enough to raise the Titanic.

Stoltz is simply amazing in the variety, the humor and the absolute lack of self-pity with which he draws Rocky, whose spirit soars so far beyond his body.

Director James Foley and his co-screenwriter Robert Redlin have pulled Thompson's story out of film noir shadows and set it unflinchingly in the desert's orange-red glare.

Hollywood Shuffle is boisterous, out-at-the elbows movie making, an uneven series of skits, really, rather than a consistent whole. But there are wonderful comic moments here, alongside ones that droop from having gone on too long. And pervading the film is an unquenchable air--of optimism, even of community, which uses comedy to address some grievous inequities.

Crossroads needs a leap of faith to swallow it whole, to buy its Faust-like premise of a musician's pact with the devil played against the realism of a contemporary road movie, but director Walter Hill lays out reasons enough to make us want to make that leap.

Stylistically, the film is a dream. But in every case, the style has a reason. [12 Aug 1988]

Depardieu and MacDowell seem to share an uncommon honesty and generosity of spirit. So as the sexual tension between their characters grows, their scenes together are charmingly open and uncompetitive. The sense is that if these two ever become lovers, it will be because they have first become friends. On that startling note, in today's climate of explicit, loveless love, the film floats to its heady conclusion. [11 Jan 1991, p.6]