If The Eyes of Tammy Faye is skimpy, it's still an important correction to the record about this fascinating and misunderstood woman, who turns out to be much more than just her makeup.

Delivers deliciously low blows at corporate America, office politics and the lengths people will go to avoid work.

Enough flair and conviction to keep the movie buoyant even when its plot is abrupt and its emotionality conventional.

Fortunately, this film doesn't have to depend on off-screen dalliances to prove its worth.

The Craft casts a spell with a cast of four kicky young actresses, atmospheric California settings, cool special effects and the attitude of a music video. [03 May 1996]

There's enough wit to keep audiences of whatever age happy.

Has a vitality and novelty rare in any youth movie, let alone one that claps fresh eyes on a cliched vision of a model minority.

Cheeky, brass-knuckles British crime film.

As they've proven before and doubtless will prove again, Soderbergh and his cast are capable of better, weightier, more substantial stuff. But for now, slumming has rarely seemed more appealing.

A love letter to the time, and the period, and the legend that has grown around both. Maybe it's all too wonderful to be true, but that's OK. If Taking Woodstock is a fantasy, then it's a most benevolent one, and more power to it.

The story may be about cold-blooded murder, but Bullock's pulsating performance is about the getting of wisdom.

Zellweger has a ticklish furriness reminiscent of Jean Arthur in her screwball comic prime.

Smith shows the grasp of character and offbeat humor that really registered in "Clerks," and a subtler mastery of film fluidity and professionalism than anything in the cheesy, amateurish "Mallrats."

Pointed and satiric. Best of all, one must hasten to admit, it's pretty funny.

One of the unique virtues of the cinema is its ability to bring history to life with engrossing detail and gripping immediacy; East-West does this.

The movie is full of holes - it lacks the precision and verve of a Francis Veber farce like "The Dinner Game" - but the two actors brew up a sane kind of comedy from their fractious rapport.

Redacted is a bristling act of protest that obliterates a target it isn't aiming for.

The story line meanders and too many scenes drone on; Knocked Up is in serious need of a good editor. But the laughs are plentiful, and it's the rare movie these days where one doesn't feel guilty about finding the whole thing funny.

John Turturro's farce about life and theater that is by turns elegant and bawdy, but always transfixing.

Chilling doesn't begin to describe Jonestown: The Life and Death of Peoples Temple...But the film never gets behind the chill.

Foster is strident, Vincent D'Onofrio has little to do but chain-smoke thoughtfully as an accessible priest, and the physical atmosphere is hazy.

The American writer and poet Charles Bukowski is certainly an acquired taste, and Factotum may be just the film for determining whether one wants to acquire it.

Extract is an exuberant original...like no other and one of the best comedies of the year.

For movie fans who despair of the state of American cinema, the in-jokes are hilarious.

Macabre and astonishing, Tim Burton's Nightmare Before Christmas is a brilliant piece of technology, perhaps undercut a bit by the insincerity of its story and the blood-and-thunder music of Danny Elfman (every single piece he writes sounds like every other single piece he writes). But nasty kids and bored parents should love it.

This compelling account of the explosive growth of Lyme disease grows to encompass all the peculiar politics, corruption and inertia of American medicine.

Seinfeld is the perfect figure to center a documentary called, generically, Comedian.

For all his excesses and wrong turns, Lee has made a grown-up movie with an adult sense of loss and an adult sense of hope. He may be addicted to broad flourishes, but he has the big emotions to back them up.