Steven Rea

A heartbreaking story of true love.

Irma Vep is over before you know it, which is both a tribute to the talents of Assayas - he draws you in completely, his film never lags - and a bummer. You want to follow these people around a little longer, see what happens to their movie (although we do get to see something that happens, and it's weird and dazzling) and what becomes of them all. This a film about thievery - the character of Irma Vep is a jewel thief, the director is stealing from the past - and in its own very cool, very brash way, Irma Vep steals its audience's heart. [13 June 1997, p.10]

A promising filmmaking debut, Star Maps defines a landscape where everyone has a dream - and where a lot of people will do a lot of things to achieve that dream, however misguided and delusional it might be. [22 Aug 1997, p.10]

If that sounds highbrow and pretentious, it's not. The neat trick of Tristram Shandy is that the whole thing comes off as a lark.

The story of Donald Crowhurst is not one of remarkable courage or remarkable endurance. But it is remarkable.

On a deeper level, the Dardennes' film offers a portrait of a fragile yet determined woman set on making a home for herself in the world, even as that world unravels before her eyes.

Spinney comes across as a man whose warm spirit is literally at the core of the loving, if loopy Big Bird.

Hugely affecting - and reflective and witty.

Frost/Nixon is not the epic gladiatorial face-off, the ricocheting verbal shoot-out that writer Morgan and filmmaker Howard imagined.

Quiet, finely etched and beautifully acted by Dina Korzun and the wise-beyond-his-years Artiom Strelnikov.

A story of obsession and honor, deception and self-deception set against a sharply etched landscape of political upheaval and intrigue. Malkovich orchestrates all this with assuredness, and Bardem, looking weary and worn, inhabits his character with a realness, a truth, that's downright spooky. And beautiful.

A sort of full-course Father of the Bride, Lee's Eat Drink Man Woman is tender without being mushy, sweet without being syrupy - and surprising in ways that can only make you smile. [17 Aug 1994, p.E01]

Exhilarating and tragic.

A squirmingly strange and brutal study of sexual power, masochism and mother-daughter madness.

Based on reports of a real 2005 incident, it is a film that asks its viewer to consider the nature of good and evil, love and trust - and trust that turns into something like blind faith.

'As long as there are Muppets," muses a little felt guy named Walter, "there is still hope." And indeed, there is something hopeful about The Muppets - Disney's rollicking reboot of the late Jim Henson's furball franchise.

Sweet-natured but overdone, over-long film.

Bringing a wily, slow-burn energy and a southern accent to the role of Lyle, Dennis Hopper adds just the right touch of warped malevolence to Dahl's film. [29 Apr 1994, p.5]

British screen stalwarts Bill Nighy and Imelda Staunton appear as locals - he twitchy and reticent, she chatty and full of cheer, both with their hearts in the right place.

With its knowing take on men, messed-up romance and music, is like one long, hook-filled pop song for the eyes.

Brian Cox is especially good, and slippery, as Menenius, a Roman senator.

Pray has a great story here, but it's much more than just "The Brady Bunch's Endless Summer."

Gritty, suspenseful and almost poetic in its depiction of an unforgiving town, A Most Violent Year is just shy of being great.

Compared to "Ray," which takes Ray Charles' unique life story and manages to make it feel like a cliche, Kinsey is total sophistication and nuance.

When Dizdar hits, he hits big.

Not just a great sports movie, Harvard Beats Yale 29-29 captures a pivotal moment in recent history.

This is a picture of quiet observation, contained emotion, the hush before the cathartic scream.

Shows glimmers of great drama, but jettisons too much essential cargo (character development, relationships, plot, common sense) in an effort to be lean and clean.