In spite of its limitations as art, White Palace is never less than watchable, thanks largely to the resources of its two stars and the dense supporting cast Mandoki has assembled - a cast that includes fast, effective turns from Kathy Bates, Renee Taylor, Eileen Brennan, Jason Alexander and Steven Hill. Mandoki has come a long way from the almost comic mawkishness of his first )feature, "Gaby - A True Story," and though his sentimental streak is never exactly inconspicuous, he has learned to balance it with a well-timed wit. [19 Oct 1990, p.D2]

The film is a river of pain, weirdly funny in places, as are all of Herzog's filmic essays.

The funky, enjoyable Hamburg-set comedy Soul Kitchen is a celebration of co-writer-director Fatih Akin's home base, a spacious, moody city of apparently limitless industrial warehouse space - like Chicago.

Monsters is a sharp little low-fi monster movie operating from a tantalizing premise.

The director's return home here parallels that of Fernando, metaphorically and artistically. Our Lady of the Assassins is a film of clarity, feeling and electric intensity.

A fairy tale comedy with the Holocaust as the background, a collision of terror and community, death and beauty.

The sheer outrageousness of its attitude is enough to make Heathers a very welcome relief in a field dominated by sanctimonious and second-hand virtue. [31 March 1989]

Doesn't always sizzle, but its stars do.

Wan is a humane sort of sadist. His latest offers little that's new, but the movie's finesse is something even non-horror fans can appreciate.

Exceptional black dramatic comedy.

Richard Pryor and Cicely Tyson star in a thorougly likable comedy about an ex-con and a schoolteacher who take a bunch of ghetto kids to a farm in Washington. Some foul language gets in the way of this being a film suitable for the entire family.

In the end you feel like you've been taken on a pleasing, professionally run tourist trip that let you enjoy the sights without ever really inhabiting the land.

Ford`s character is disoriented from the very beginning of the movie, suffering from jet lag, and you can view the movie as one long tourist`s nightmare. Although the suspense never reaches the level of Polanski`s finest work-there are plot holes that are enormous-the film is well made technically and has so many twists and turns that one can`t help but want stick around to see how it turns out. In other words, you have just read a guarded recommendation.

It's a better-than-average animated feature.

Some of it's schematic and on the nose. But the grace notes are what make 50/50 better than simply "good enough."

This movie's good. It's fast, deftly paced and funny.

The movie operates with a nicely unpredictable rhythm, both short and longer shots ending abruptly, sometimes comically, popping us into the next one.

Whether a legend was born (or retired) that night at the Garden remains to be seen, but even on film, it was one killer show.

There is more than enough energy here to sustain the film over its two-hour course. [3 July 1987, p.AC]

Visually here’s the crucial thing with Ant-Man and the Wasp, and it sounds like a small thing, but really it’s a big thing: The sequel has upped the instances and exploits of the rapidly changing superheroes, and every time the movie cuts to a shot of the heroes’ miniaturized car, scooting around the streets of San Francisco, it’s good for a laugh.

Thanks to Hamri's light touch and the considerable chemistry between Lathan and Baker, it's easy to forgive these missteps--leaving the film plenty of goodwill to spare.

People who love Lennon will almost certainly like the film; his detractors will almost certainly howl "bias!" Even so, it's a movie that, at its best, makes you ache with the memory of an anguished era and its fallen pop culture hero.

LaLoggia clearly loves his chosen medium: He has a passion for filmmaking-for ferreting out unusual angles, for planning elaborate camera movements, for designing elaborate special effects-that sometimes leads him way over the top. Yet it's the extravagance of his gestures that gives Lady in White its character and imaginative force. [22 Apr 1988, p.A]

The film is worth seeing, if you have any fondness for the writer who co-created "Beyond the Fringe" and who is second only to Stoppard in his sprightly but mellow wit.

Easily cracks the top five list of reasons to go to the movies these days - and defies categories in doing so.

The script embraces certain character archetypes wholeheartedly (pig-headed crew mate; ramrod-stiff officer) and not always successfully. Yet the tone, the mood of the picture, with its desaturated color palette, maintains the right atmosphere.

Weird to the max, smart, sneaky as a Wall Street pickpocket and revved up with cruel wit and brazen imagination, Being John Malkovich is a dark movie comedy that you couldn't forget if you tried.

As written, “Rustin” does a pretty good job of making the (re-)introductions. As acted, the movie transcends pretty-good.