A film of great ambition and accomplishment...Such weaknesses aside, Jungle Fever remains the most thoughtful, provocative, and deeply felt statement on race problems and gender relations to arrive on screen in a very long time - and the funniest and most entertaining to boot.

Blue Moon may essentially take place inside a single room, but it rarely feels stagy. It captures the connivance and conviviality of theater people – the way they come together, if only for a night, with a spiritedness that is both forced and entirely genuine.

There's something inherently funny about the romantic predicament of Harry and Ron and Hermione. As if it wasn't bad enough having to deal with the Dark Lord and the Death Eaters and all the rest, now they have to square off against... raging hormones.

A riveting movie.

Vigorous but rather scattered account of two gallant young runners in the 1924 Olympics, based on the real-life experiences of Harold Abrahams and Eric Liddell.

Most of all it’s about talking. It’s practically a nonstop jabberathon. What rescues the film from tedium is that much of the talk is enticing.

In the end, however, the story is too contrived and melodramatic to reach its full potential.

Mississippi Masala is too ambitious for its own good, but it takes you to parts of the world - and parts of the American scene - that have waited too long for a place on the wide screen.

I enjoyed Whedon’s film both as a species of stunt and also as a legitimately entertaining entry in the voluminous Shakespeare adaptation sweepstakes.

Always hard-hitting and often grimly, revealingly satirical.

Decorous to a fault, in the manner of middling Eric Rohmer talkfests, it's a film that could use some shaking up.

A deliciously weirded-out picture by Guy Maddin, a deliciously weirded-out Canadian filmmaker.

Courtly intrigue should be intriguing, and in that sense, The Princess of Montpensier – although it's somewhat wan and too cerebral for its own good – does a fairly keen job.

There's precious little to think about despite the screenplay's comic-philosophical musings on fate and coincidence.

All the old cliches, including the offensive ones, are trotted out in this revisionist yet trite Australian western about a legendary bad guy and his young sidekick.

Most of the film, which also has links to Spike Jonze’s "Being John Malkovich," plays like a variation on some of Spike Lee’s more scabrous racial fantasias like “Bamboozled.” It’s also very much in the vein of films like “Get Out,” which also mixed horror, racial comedy, and social consciousness, though here to far less effect.

Grodin is brilliant, though, practically stealing the movie without an extra word or unnecessary gesture. He's an uncommonly talented actor, and it's good to see him in a movie that gives him a chance to show his stuff. [22 July 1988]

The Istanbul interviewees believe it is their responsibility to look after the cats but not confine them as indoor pets. This responsibility is a matter of almost spiritual deference.

Despite his street cred, Muniz comes across as way too effete for these laborerers, many of whom have harrowing life stories to tell. But his intention to have them re-create photographic images of themselves out of garbage, while it may not pass muster as high art, has the effect of raising their spirits.

Morris's unique blend of realism and surrealism gives the film great resonance as a portrait of one eccentric individual and, more important, a study of the morbid proclivities that run beneath the surface of our supposedly civilized society.

Tavernier's compassionate views and long filmmaking experience shine through this eloquently acted drama.

Good performances by a distinguished cast don't quite overcome the weaknesses of the disappointing screenplay.

Beneath its surface of chronic suffering and hospital details, Chereau's best drama etches a humane, sensitive, and richly moving portrait of fraternal love struggling to mitigate human frailty.

Judging from this film, a pop cultural resurgence in Afghanistan seems ultimately unstoppable, even with a resurgent Taliban, if for no other reason than that 60 percent of the population is under 21. Also, this is a country, as we see again and again, that loves to sing.

It’s often enjoyable and very forgettable, which may be as good as it gets for movies released in August.

Told through both animation and live action, the fantasy is almost too inventive for its own good, filling the screen with unsettling pictures and situations that could be much too scary for young viewers.

Filmed to perfection by the great Christopher Doyle and others.

The Emily of this movie seems to survive primarily to take everyone in her orbit to task. Davies is holding her up as the indomitable spirit of genius – a woman who suffers fools not at all.