The actors, who also include Rosamund Pike as a woman whose family was massacred by the Comanche, and Ben Foster, as a member of the military who killed an American Indian family, are all strikingly good.

Like most of its characters, it's rough and sometimes raw to visit with, blending sharp insights into the world of inner-city youth with a weakness for melodrama and touches of silly humor. But to see it is to visit a world rarely touched by mainstream movies. [15 Mar 1993, p.14]

Is there a moral objection to be raised about a movie that features a teenage girl as an assassin? I suppose there is, but I couldn't find it in me to object.

The Kaijus make zombies look like wusses, so at least the fights in this film are battles royal. But overload sets in early, and it all turns into battle boring.

Rarely have Gibson's tears seemed more fictional than in this supposedly authentic account of a historical event that's far too tragic to merit such superficial treatment.

Part 1 of the final installment, 'Harry Potter and the Deathly Hallows,' is another scrupulous adaptation of J.K Rowling's books.

This movie is a one-of-a-kind experience – blarney carried to rhapsodic heights.

Writer-director David Jacobson has a good eye for widescreen compositions and sustains a low-key note of dread but is less successful in his attempt to graft a neo-Western to a neo-noir.

It is not the redemptive uplift that I am objecting to here. It's the way that Bier manipulates us in order to send us aloft. She wants the world to be a better place. Fine. But what she has concocted here is an arty version of the same old Hollywood dumb-down dramaturgy. It just has a higher gloss.

What Batra is reaching for here is the fairy tale beguilements of Bollywood romance but without all the hoopla. He wants to tenderize the Bollywood clichés and bring the essence of their ardor into the real, teeming world of Mumbai.

Despite the drawbacks of the Silkwood screenplay, written by Nora Ephron and Alice Arlen, this is a directorial triumph for a filmmaker who has artistically matured during his absence from the screen these past several years.

Isn't glossy, but it has a thought-provoking mix of skepticism, hopefulness, and respect for all but its most scurrilous characters. Hollywood could learn from its canny blending of psychological and multicultural insights.

Peter Greenaway's unorthodox drama treats the movie screen less as an entertainment device than a postmodern canvas upon which he writes, photographs, and records an intricate multicultural collage. [06 Jun 1997]

Estevez directs with ease and assurance but, both internally and externally, not enough happens to these people.

Some will dislike its shaggy-dog screenplay and restless camera work, and others may find its finale too postfeminist for comfort.

May not make you laugh out loud - it's too sly and subtle for that - but it will have you smiling every minute, and often grinning widely at its weirded-out charm. Nerdiness will never seem the same.

Crass and soulless.

Akerman is among the most imaginative filmmakers in her native Belgium or anywhere else, but here she doesn't get very far beneath the surface of her subject.

Destined to become this year's love-it-or-hate-it movie. Is it OK to say I merely liked it a lot?

Almost a textbook example of how to do more with less. It's about aimless people who suddenly find their aim.

Gavron’s conventional approach to the material compares unfavorably to the newsreels and stills of the actual suffragettes that close out the film. The harsh reality comes through in that footage in a way that the film as a whole only approaches in bits and pieces.

The back-and-forth between the performers is tensely choreographed, and Buscemi does a good job opening up the action, which mostly takes place in a Manhattan loft.

It's all something of a stunt - "Speed" on a shoestring - but very well done.

Too much of Sunshine is like a cross between a middling "Alien" movie and "Solaris" (the woozy Steven Soderbergh version).

A former gang member, his ten-year-old son, and Los Angeles street life are the main concerns of this uneven story, which isn't convincing enough as drama to achieve the consciousness-raising effect that appears to be its goal. [26 Oct 1992, p.12]

The filmmakers are more interested in spinning an entertaining yarn than probing the spiritual dimensions of their important subject.

Its best moments are as exuberant and insightful as anything the screen has given us this season, and its passionate concern for believable characters in a recognizably real world offers a refreshing change from the current spate of feel-good fantasies.

A better movie would not have hinged its thesis so closely on Anna’s innocence. The film doesn’t fully allow for the fact that the issue of Anna’s veracity, or lack of it, is essentially a sideshow.