This project is dead in the water. Read the book. Better still, read "Victory."

Set It Off is advertised as a thriller about four black women who rob banks. But it's a lot more than that. It creates a portrait of the lives of these women that's so observant and informed; it's like “Waiting to Exhale” with a strong jolt of reality.

I have never seen anything remotely approaching the mess that the new punk version of "Romeo & Juliet" makes of Shakespeare's tragedy.

They say an elephant never forgets, which means that I have an enormous advantage over Tai, who plays Vera, because I plan to forget this movie as soon as convenient.

The movie makes two mistakes: (1) It isn't very funny, and (2) it makes the crucial error of taking its story seriously and angling for a happy ending.

It is a new documentary of a past event, recapturing the electricity generated by Muhammad Ali in his prime.

Unfortunately, there's otherwise not much meat to King's Thinner.

The movie is sweet, funny, observant and goofy with a small ``g,'' which means you don't get paid, but at least you don't have to wear the suit.

As entertainment, the movie functions successfully. But I don't believe the story is true--not true to the facts, and not true to the morality it pretends to be about.

Together [Christopher Eccleston, Rachel Griffiths and Kate Winslet] stake a difficult story and make it into a haunting film.

What makes Get on the Bus extraordinary is the truth and feeling that go into its episodes. Spike Lee and his actors face one hard truth after another, in scenes of great power.

The films portray the Klan as criminal, racist and anonymous, but those have always been its selling points; it is not portrayed as boring and stupid.

The movie moves confidently when it focuses on Collins and his best friend and co-strategist Harry Boland (Aidan Quinn). But it falters with the unnecessary character of Kitty Kiernan (Julia Roberts), who is in love with both men, and they with her.

I liked it in the same way I might like an arcade game: It holds your attention until you run out of quarters, and then you wander away without giving it another thought.

If anybody ever wrote a Field Guide to Alcoholics, with descriptions of their appearance, sexual behavior and habitats, there would be a full-color portrait on the cover of Tommy, the hero of Trees Lounge.

“The Ghost and the Darkness is an African adventure that makes the Tarzan movies look subtle and realistic. It lacks even the usual charm of being so bad it's funny. It's just bad. Not funny. No, wait . . . there is one funny moment.

The movie is a work of art and whimsy as much as one of science.

It's pure cinema, spread over several genres. It's a caper movie, a gangster movie, a sex movie and a slapstick comedy.

The movie may be inconsequential, but in some ways that's a strength. Without hauling in a lot of deep meanings, it remembers with great warmth a time and a place.

Aside from some fancy handiwork with a combination credit card/switchblade, Seagal appears stiff and arthritic during his karate scenes, lending worrisome credence to the notion that Seagal couldn't fight his way out of the Wrigley Field bleachers. [08 Oct 1996, p.34]

It moves us on a human level, it keeps us guessing during scenes as unpredictable as life, and it shows us how ordinary people have a chance of somehow coping with their problems, which are rather ordinary, too.

It's fun to watch 2 Days in the Valley” in the moment, and then fun afterward to think about the way the story was put together, and all of those lives connected.

I found myself debating the film's moral questions on the way out of the theater.

By the end of the movie, we have been through an emotional and a sensual wringer, in a film of great wisdom and delight.

There is undoubtedly a movie to be made about this material -- a different movie.

The movie breaks down into anecdotes that don't flow or build, and everything is narrated by the Gilot character.

Last Man Standing is such a desperately cheerless film, so dry and laconic and wrung out, that you wonder if the filmmakers ever thought that in any way it could be ... fun.

The tension between the slimefest milieu and the charm of the performances is maybe what makes Feeling Minnesota work.