Snow is a full-fledged genius who enlarged the fundamental horizons of cinema with his classic "Wavelength," but here his aesthetic and philosophical ideas don't quite keep pace with his technological boldness.

The documentary is revealing and chilling, although it doesn't explore the inner workings of the American criminal-justice system as thoroughly as one might wish.

The film is gracefully directed around the edges, but the core story, a kind of existential murder mystery, is swallowed up by a series of increasingly outlandish plot devices involving drug runners and Tarantino-esque shootouts.

The film wants to be a wing-ding entertainment, but it also strives to say Something Important. The first half of that equation is what makes the movie eminently worth watching.

Their shenanigans rarely run short of explosive energy.

Thoughtfully directed by the versatile Iain Softely from Hossein Amini's screenplay, which reduces James's intricately structured narrative to feature-film scale without losing the book's rueful psychological tone.

Extraordinary stunt and fight work and nonstop excitement, but a warning to those who are at all squeamish: this may be the most violent movie I've ever seen.

Directed with the blend of moody atmosphere and punchy violence that has made Kitano one of Japan's most powerful culture heroes. [10 Apr 1998, p.B2]

Many belly laughs.

The plot switches gears every time it threatens to run out of energy, which keeps the show as lively as it is preposterous.

The drama is a gentle, witty parable of the mixed feelings some people show toward free choice when it confronts them not in theory but in everyday life.

It's hard to find a current release that so effectively teases the mind and emotions.

Tasty while you take it in, but larded down with empty cinematic calories.

Moody, atmospheric, and bewitching, like other first-rate examples of modern Thai cinema.

Evocative and disturbing.

Sensitive acting and imaginative filmmaking help rescue the movie from potential excesses of its own.

The fine cast is also misused -- especially Kidman, who looks as unruffled at the end of her torments as before they began, and Zellweger, who does a job of overacting that might have gotten rejected by "The Beverly Hillbillies."

One of the sweetest and most heartfelt movies ever made about a life in the theater.

Blitz captures high school atmosphere well – not an easy thing to do – but overall the movie coasts on quirkiness.

Clint Eastwood’s second film this year, American Sniper, about the late Navy SEAL Chris Kyle, is considerably better than his first, “The Jersey Boys.” As a piece of direction, it’s as taut as anything he’s ever done.

The movie's basic message is that lying and conniving are perfectly all right - as long as you're a swell person inside, like the pert character we're watching here. Working Girl is a fun movie in many ways - don't get me wrong. [25 Jan 1989, Arts, p.11]

Less pretentious and more gripping than the overrated sequel, ''The Road Warrior,'' but viciously violent and awfully shallow.

The viciously anti-Semitic 1940 German movie “Jew Süss” is one of the most notorious films ever made...Today it is one of the few Nazi-era films that still cannot legally be shown.

It's a fascinating story, fascinatingly told.

My favorite character is not Nik but his 15-year-old sister, Rudina (Sindi Lacej), who takes over her father's bread delivery route in his rickety wagon and makes a go of it against all odds. Her pluck seems both Old World and New World.

Stay far, far away unless you can handle the copious amounts of blood--and agonizing psychological problems-- that its participants face on what seems like a daily basis.

Michell treats the Irish troubles of the 1970s with clear-eyed compassion, and Walters's performance ranks with her best.

Use of a loosely written screenplay and a nonprofessional cast in this picture weakens its dramatic appeal even as it lends authenticity and local color.