Miller's Crossing

As disturbing and densely beautiful as its opening image, a lofty forest that dwarfs the gangsters as they laugh over their kill. Read full review

Cold and cut to the bone, the film is a primer in screen virtuosity. Standard action film clichés, like a face getting hit with a chair, get turned inside out; both film and actors somehow manage to seem realistic and stylized at the same time. [21 Sept 1990, Life, p.6D]

A masterpiece, but of a unique kind... A gorgeously filmed, supremely well-acted, intricately written film noir about now. Read full review

Substance is here in spades, along with the twisted, brilliantly controlled style on which filmmakers Joel and Ethan Coen made a name. Read full review

Barry Sonnenfeld's stunning cinematography and the sharply etched characterizations make this film one for the ages. Read full review

The movie is artful to a fault, with too many characters sitting in perfectly arranged, immaculately lighted rooms and talking a lot. It contains near-classic sequences, though, and splendid performances. [28 Sept 1990]

If, however, you're looking for compelling characters, all the lights are blazing here but nobody's at home. Read full review

Crossing should be watched not because it's their finest achievement (that's still to come), but because the brothers are keeping things refreshingly different and building a career, their minds still very much fixed on originality. Read full review

The Coens are artists too, and their cool dazzler is an elegy to a day when Hollywood could locate moral gravity in a genre film for grownups. [24 Sept 1990, p.83]

A very clever, stylish story of friendship, loyalty and betrayal. Read full review

What it doesn't have is a narrative magnet to pull us through - a story line that makes us really care what happens, aside from the elegant but mechanical manipulations of the plot. Read full review

The Coens have technique and they have taste; what they do not yet have is the ability to move beyond their handsome imagery to the human center of their material. [5 Oct 1990, Friday, p.C]

It takes place in an artificial world constructed largely from the mythology of other movies, and, though it's both seamless and stylish, some find it a little too self-conscious for its own good. Read full review

Heart may be what the movie needs most, but a bit of clarity wouldn't hurt either. Even here in gangsterland, where random characters are cherished and non sequiturs are considered wisecracks, there is a difference between complications and impenetrability, and this plot is a bloody thicket.. [5 Oct 1990, Calendar, p.F-10]

An elegant-looking picture, carefully made and beautifully put together, but when the gloss wears off, you're left with an experience that doesn’t quite satisfy. [5 Oct 1990, Daily Datebook, E10]

The double crosses are so intricate and the cynicism so enveloping that it becomes increasingly difficult to care about the characters Read full review

Weightless. It is also, unfortunately, without much point at all... A movie of random effects and little accumulative impact. Read full review

A lifeless, tedious picture... A complete dud. [29 Oct 1990, p.26]