To its credit, the movie has as little patience for nonessential nonsense as the women it portrays.

A conventional dark comedy with moments of unexpectedly biting wit.

The action is light and lively all the way, poking inventive fun at everything from nosy little brothers to clueless hotel managers and romantic Romans who aren't as glamorous as they claim to be.

Well acted, handsomely photographed, a bit too long.

The film's moral lesson – that violence begets violence – isn't exactly a showstopper, and the balm that is laid on Nawal and her riven family can't quite compensate for the poison that preceded it.

The film treats realistic subjects in a stylized way, putting its main energy into exploring ideas rather than building emotional power. [13 Jan 1995, p.B]

How does all this play out for those of us – i.e., me – who have not been staying up nights fretting over the origins of the X-Men and Women? The answer is: Fairly well.

Good acting and pungent dialogue.

The topic is well-suited to the Maysles brothers, who helped pioneer reality-centered "direct cinema" techniques.

We get to see film of daughter Tricia’s wedding (her father is a surprisingly agile ballroom dancer) and other oddities. We also hear more of the famous audiotapes than usual. You’ll be interested to know that Nixon, not in praise, referred to Henry Kissinger as a “swinger.”

The longest comic episode is too heavily presented, and the whole plot slows down during the third quarter of the picture. But most of Dreamscape is light, lively, and entertaining. [21 Sep 1984, p.23]

It’s a universal story that is also, by virtue of its very particular time and place, a singular experience.

Buscemi's directing blends hard-hitting visual qualities with great emotional energy.

The linkages between these mostly brief snippets is somewhat haphazard, but, given the waywardness of her travels, that’s appropriate.

Complexly intriguing documentary about psychedelic rock icon Roky Erickson.

The story of this Spanish thriller is weak in psychological credibility but strong in suspense, novelty, and imagination.

Andrew Niccol wrote and directed this intelligent and suspenseful science-fiction drama featuring strong performances by Ethan Hawke, Uma Thurman, Alan Arkin, and Gore Vidal.

Unexpectedly entertaining, if you're willing to put up with the picture's stagy look, over-the-top moods, and heavy doses of vulgarity.

Influenced by Billy Wilder's classic "Ace in the Hole," this dark comedy-drama rambles on too long and strains credibility at times.

Dive right in if you're looking for an old-fashioned entertainment that delivers corny romance, turbulent action, and enough wave-churning seascapes to make "Titanic" seem landlocked.

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]

Excellent acting, and a plot that combines suspense, whimsy, and political resonance make this Palestinian comedy-drama an unusual treat.

There's some sexually tinged humor and a bit of foul language, but most of the action is lightheaded fun. The picture also has a striking visual style - showing what a strong talent Almod'ovar can be when he focuses his energy on cinematic values, instead of dreaming up provocative stunts that put his work beyond the pale for many moviegoers.

It's slick stuff, but Lawrence, in her most high-low, sad-comic turn yet, is remarkable.

Next time out, more dwarfs, more Aslan, and definitely more Reepicheep.

The Invisible Woman at its best does justice to the complicatedness of its characters – just as Dickens did as a writer.

The thriller makes up in moody weirdness what it lacks in horror-tale originality.

The film discusses important social and personal issues, although the interview subjects don't always have enlightening things to say.