A solid, not to say ironclad, winner in the less than overcrowded family animation arena.

Hedaya is sublime.

Bizarre, shadowy, enticingly eerie...more poetic, more tantalizingly original.

By placing all its faith in production design and high-powered computerized effects, and not enough where it really matters, namely character and atmosphere, The Haunting relegates itself to the slag heap of embarrassing claptrap. [23 July 1999, p.D4]

Gross and tasteless...this high-school romp mixes the gross and tasteless with sentimental mush.

Assayas and his engaged, responsive cast finally beat the odds, subtly and beautifully enabling the film to genuinely seem to be about a handful of friends approaching - not always easily or even gracefully but ultimately very touchingly - the September of their shared and individual lives. [13 Aug 1999, p.D4]

Give your brain the night off, and Myers will make you smile too.

Until it goes off course, Limbo not only is up to Sayles's high standard, but extends it. [04 Jun 1999, p.C4]

Juicy acting and an intense individual and communal commitment that seems to boil up from the streets carry Southie past its structural and technical limitations. [28 May 1999]

There's no getting around the fact that it's an uneven exercise that shows signs of having gestated too long. [04 Jun 1999]

It's poetic, resonant, wistful, convulsive, regretful, exultant. There also are times when it's demanding to sit through, when time passes slowly, urged on only by flickers of uncertainty on the face of its protagonist, or by his insistent peering after meanings that may not even exist. But it's also a film that offers the kinds of rewards possible only to the contemplative mindset. [25 Jun 1999, p.D5]

Good enough, but only just. It's got the hardware, but neither the characters, the imagination, nor the resonance one had hoped for.

It isn't conventional drama or plot twists that make After Life moving. Rather, it's the exquisitely tender memories that come floating to the surface of this or that interviewee's mind. [11 June 1999, p.D6]

Seems to be going through a series of motions so obviously virtual that it makes you wish that the filmmakers had stayed away from the computer keyboards entirely and stuck with the rotting tape look.

Refn's direction in Pusher exhibits an uncanny prescience for techniques that would peak a decade later as reality TV -- low-budget, digital video; the use of a tipsy, peripatetic camera; and a wide-angle lens to engulf all the action.

An invigoratingly mordant comedy that proves that Alexander Payne's rambunctious debut, "Citizen Ruth," was no fluke.

"Pulp Fiction" wannabes don't get much slicker or edgier than Go.

Bale and Watson make most of the film more interesting and watchable than it might otherwise be, finding flesh and blood in a script that isn't always equal to their talents. [23 Apr 1999]

There are moments in Christopher Nolan's thematically ambitious film noir that make you wish he had the time and money and, to a certain degree, talent, to fulfill his lofty goals. [11 Feb 2000, p.C9]

Snazzy visuals, of which she (Moss) is one, carry The Matrix past its klutzy script.

Even the presence of Walston himself, as the government heavy in charge of tracking Lloyd's zany Martian, does little to alter the inescapable conclusion that this My Favorite Martian reincarnation is more likely to find favor with the undemanding than the nostalgia-minded. [12 Feb 1999, p.E5]

In short, the film isn't afraid to wear its heart on its sleeve and bring conviction to its focus on feelings. It's written with enough dexterity and wit to make you buy into it. [29 Jan 1999, p.C4]

It plays something like Robert Altman Lite. It's saved from writer-director Willard Carroll's increasingly forced linkages and made watchable by the resourceful acting of its ensemble, some of whom get more to work with than others. [22 Jan 1999, p.D4]

Karmic influences or not, the new "Mighty Joe Young" works. This is one remake that isn't trying to make us forget the original, but seems rather to embrace it and bring it into the present in solidly crafted, family-friendly fashion. [25 Dec 1998, p.C9]

Down in the Delta, Maya Angelou's film-directing debut, strongly establishes her ability to command emotional authenticity and fashion-rich, beautifully wrought images that tap into the stabilizing dignity of family life. [25 Dec 1998, p.C7]

Warm, smart, and funny!

The General is a gravely beautiful film (in wide-screen black and white) by John Boorman about an Irish career criminal who was an antiauthoritarian folk hero, a warm family man to a menage a trois, and also a dangerous psychopath.

The most amazing thing about Jack Frost may be that it took four writers to come up with a film as insubstantial as tinsel and as leaden as fruitcake. Then again, perhaps none of the writers wanted to bear the blame alone. [12 Dec 1998, p.C4]