From scene to scene The Connection is never less than watchable, although it is also never less than predictable.

The result would be an important drama if the screenplay (based on an early Arthur Miller novel) didn't lapse into preachiness and imprecision at times.

Few American filmmakers put more faith in the ability of words to stimulate mind and heart.

Balaban's superb performance blends with Moyle's mostly understated directing to produce an uneven but sometimes enchanting comedy-drama.

Gries and Morris act up a storm as the optimistically named Sunny Holiday and his long-suffering manager.

Shannon chalks up another line on his rapidly growing résumé of memorable performances. But it's mostly Cardellini's show – she's in every scene. Her portrayal may at first seem opaque, as though she isn't quite sure who Kelli is. But that is, of course, the point. Kelli isn't quite sure who Kelli is.

You never know what to expect from Boyle, and that goes triple in this offbeat comedy drama. It's a movie about family that family viewers will find good, quirky fun.

As summer franchise movies go, Mission: Impossible – Fallout is near the top of the heap.

Romantic comedy about a bridegroom-to-be who gets sidetracked on the way to his wedding, especially by an unexpected traveling companion who's both free-spirited and beautiful.

Entertaining as the movie often is, this all-American, can-do attitude is also the source of its shortcomings. Given the enormousness of its subject, there is a radical lack of awe in this movie.

It has a good heart, though, and makes an amiable introduction to the integration battles of the '60s and '70s.

It gains a major charge of dramatic energy from Kurt Russell's ferocious acting, almost certainly the best of his career.

The film makes clear that the soft-spoken, diminutive Ginsburg fought early and hard for gender equality in the courts in her own steadfastly clearsighted way. She’s the opposite of a late bloomer.

Thanks to Tukur, what we get here is still something: a stunning portrait of a good man caught in a widening inferno.

What makes the film intriguing, and somewhat off-putting, is that Romain is deliberately portrayed as a heel; he strains his relations with his lover and his family, except for his grandmother (Moreau), to the breaking point.

This may be the first crime thriller to explicitly utilize superstring theory but, in its woozy romanticism, it's not that far removed from this year's other time-warp movie, "The Lake House," about two lovers living in parallel years - or "Frequency," which starred Jim Caviezel as a good guy.

Tarantino has always been an inventive director, and in Kill Bill: Vol. 2 he's at his cinematic best, showing an ingenuity that nothing in his monster hit "Pulp Fiction" surpasses.

Denzel Washington is stellar, and so is Tak Fujimoto's cinematography, which is as edgy and antsy as the story it tells.

The film's biggest unexplored question: Why is someone with a reputation for laying bare the truth so addicted to plastic surgery?

While this slightly edgy comedy has moments of offbeat charm, it would carry more conviction if the acting were richer and the characters focused on more sophisticated attitudes and ambitions.

Although the story slips into clichés despite its offbeat subject, Leconte's cinematic style is fresh and vigorous, and Auteuil remains one of France's most engaging actors.

Distinctive feel.

I wish the truly searing moments in this film were not continually counterbalanced by an overall historical-reenactment stiffness in the presentation.

The ending is especially inventive, managing to be sour, cynical, sentimental, and upbeat at the same time. [22 Dec 1989]

Lee may, in the end, be too balanced a filmmaker to give Life of Pi the extra spin of lyric delirium it sorely needs. It's a sane movie about an essentially deranged situation.

Heartfelt performances make up for some stodgy dialogue and corny moments, though. And it's nice to know some filmmakers still have a foot firmly planted in old-fashioned humanistic storytelling.

The mid-'50s version is slow going most of the way, but there's no beating Cary Grant and Deborah Kerr in the charm department, and director Leo McCarey comes up with some amusing moments that are more diverting than anything in Beatty's updated edition. [13 Oct 1994, p.10]

The film’s thesis is that the struggle to survive did not end with the camps. Each of the women profiled recounts, with varying degrees of intensity, the difficulties in creating a “normal” life in a world where the concept of “home” can no longer fully resonate.