Quentin actually made a REAL movie, with believable characters and performances, rather than just repositories for clever dialog.

The Postman isn't as atrocious as the inane trailers and media hype have indicated, but like "Waterworld" a lot of the prerelease scrutiny is well warranted.

Hoffman's electric performance carries the film beyond its banal pretext and Dennis Leary and Woody Harrelson are a scream in cameos.

Scorcese has made one of his best and most personal films...Kundun is also mercifully free of white teachers or saviors, such as, oh, say, Brad Pitt?

Tomorrow Never Dies, like the commercial marketing assault the Bond cast has been involved in, is a hollow experience that's egregiously trumped up by its high energy glitz and gimmickry. Somewhere, in their rush to amaze and thrill, the filmmakers forgot about Bond, the man.

Just plain bad.

Duvall chews up the scenery with smoldering, fire-and-brimstone orations.

Isn't nearly as fresh, suspenseful or witty as it's inaugural bloodfest, but it does offer enough blood and breasts to keep Craven and Williamson in business for a few more arterial sprays.

I've never been a fan, but in the space of a couple hours the Woodster gives both an explanation AND the finger to ALL of his critics. This is mean-spirited fun, just the way we like it!

Of the underutilized mega cast, Djmon Honsou shines the brightest. His portrayal of Cinque, the leader of the displaced band of African tribesmen, is devastatingly potent.

Sigourney gets some good "Rambo" lines, but about halfway through the film her alien super powers go dormant.

Remember when John Hughes made small, original, oh say, GOOD movies?

The result is crisp, brutal and utterly inspirational.

With A+ voice talent provided by Meg Ryan (Anastasia) and John Cusack (Dimitri), Fox has a winner on its hands.

Overall, not a great film, but definitely worth a viewing, especially to those who have seen any other Coppola film released this decade.

Not since "Peacemaker" have we witnessed such a battle of wits.

An enlightening experience that explains what cystic fibrosis as well as why someone wracked with pain from it might want to hurt themselves.

OK, the premise may be a little hard to take, but there's plenty of good writing here, anyway.

This is a big, silly film. Is it full of explosions and one-liners? Of course. Is it entertaining? Of course.

It's technologically more advanced, far more thrilling and there's infinitely more dinos per minute.

The best thing the filmmakers did was to pull a cast out of the stage productions. Importantly, the actors convey a sense of history and comfort with each other.

Unless you are severely addicted to Johnny Depp, this film offers very little in the way of genuine entertainment value. Ultimately, “The Brave” should have been renamed “The Foolish.”

The story is such a cut-rate kid's sci-fi fairy tale that at one point Evil actually calls Gary Oldman on the phone (and it isn't played for laughs).

Garofalo is amazing, as always, and the film is almost about her as much as the leads. The recreation of the casts' high school years is wickedly funny and dead on.

One such feeble miscue that can't be saved by the star power of Joe Pesci and David Spade.

Director Dwight Little does a solid job to keep things credible and moving, while the script makes an earnest effort to hide the true villain until the climax.

It's damn funny. It's also the best date film I've seen in a long time.

This film marks for Jon Voigt a concerted effort to unseat Christopher Walken in the competition for the Czarship of sneering, wheezing, Machiavellian, all-around weird guys. He spends much of his time standing around making a face like Beavis does when he's really freaked out.

What could have been a cool concept movie buckles under an uninspired script and some treacherous miscasting.

This movie is only really interesting during the moments of physical conflict that pop up throughout the film. These few scenes are well executed and riveting as hell.

While PP does contain the lesbian-toilet-poo-poo-homo-butt kind of humor you would expect, (Ba Ba Booey) underneath that, there is a real movie there with fully developed characters and engaging conflict. It's an absolute must-see.

I saw this movie in a room full of San Francisco movie critics, and I haven't heard that much laughter since, well, the piano duet in "Island of Dr. Moreau" (which you must admit, was pretty funny.)

I loved it. I'm glad it was made...Film Threat's association with Flynt would sometimes bring gasps of outrage or phones slammed down in disgust. Now, it brings curiosity and even admiration. Kinda weird, huh?

Even the harshest critic has to recognize the sheer unbridled joy of their ignorance.

The seemingly total access and seemingly total coverage the film makers enjoy makes us forget at times that this isn't some Hollywood fabrication.

Microcosmos is that rare film to lead us, to reiterate why the camera is just as important as the paintbrush, keyboard, pen, chunks of clay, and anything else that can be used to make art. This is art.

Patrick Sheane Duncan's script deftly weaves together the stories of Serling and Walden, and Zwick remarkably sidesteps the trap of sticky sentiment--an idea further carried forth by Ryan's admirably against-type (and shamefully unsung) performance.

But even Grant's uninspired work can't ruin the agreeable, overwhelming atmosphere of fun and romance.

Sophomoric silliness.

Nadja succeeds most when embracing its lineage, those visual echoes of Universal and Hammer Studios, with the visual weight borrowed from European art horror, yet falters when maintaining cool distance from material that demands a stronger commitment

The bright spot of Paul W.S. Anderson’s film is the villains.

The animation in Pocahontas is a testament to the constantly evolving skills of the various animators involved, drawing characters that manage to make an impact, even if only a small one.

If the first two "Batman" movies (1989/1992) were the storm, then Batman Forever (1995) is the rainbow at the end of it. After seeing so much dark and doom, it’s also refreshing to see some beaming color.

Higher Learning is John Singleton's interracial state of today's campuses version of School Daze minus the musical numbers. Surprisingly, it's just as much a gang movie if not more than Boyz 'n the Hood.

Randal is a beautiful hostile piece of work that only could have come from America. He's the sort of guy who never put in a quality day at the office in his life, but somehow probably winds up winning the biggest lotto drawing ever with a ticket he stole from his loser best friend's Quickie Mart.

The first masterwork of the post-modern pop culture generation...gets better with every viewing, and like good rock n' roll, needs to be played loud!

The bottom line is that the only Texas Chainsaw Massacre movie that you need is to see is the first.

Love it or hate it for its content, one must concede that it is nothing short of a technical marvel.

A timeless classic, full of excitement, humor, witty asides and memorable characters.

Mrs. Doubtfire is overlong, barely funny, and a surprisingly bitter movie especially for a film aimed at children.

The drama still does make for an interesting exploration into a deeply troubled main character and has an authentic backbone to reel back the story from absurdity.

Farewell My Concubine is a tragic and poignant story in every sense of the world. It’s a tough watch, dramatically, as there is darkness in this classic film.

Attempting to compare “Freaked” to any other movie would prove an exercise in futility. This is a singular film—a wholly originally movie that, despite its flaws, will win over the most jaded film fan simply because it is uniquely and wonderfully bizarre.

Tony Scott steers the movie like a rocket and it never slows down.

The film is one chillingly authentic scene after another... In the end it's more of a war movie than "Saving Private Ryan" ever was.

Easily the most unique film in the trilogy, and in many ways the most fun.

When Romper is firing on all cylinders, it is potent indeed.

The truth is that for all the controversy there really isn’t that much violence in Reservoir Dogs. The reason people were so affected was because the film shows you the true impact of its violence.

As great as the script and cinematography are (they are both unassailable), the real magic of Unforgiven is in the performances.

Bleached by the Southwestern sun, this blunt and biting look at a shattered family’s struggle to survive everyday life in Nowheresville, New Mexico, is not only inspired and entertaining, but accessible to thick-headed louts like myself.

The Last Boy Scout is overwrought, extremely violent, has a relatively unbelievable winding plot, perhaps the foulest mouthed teen ever, tons of low lives everywhere, lots of shots to Willis’ face, and is actually a pretty entertaining effort, an undeniable guilty pleasure.

The thematic development is a clever move on the filmmaker’s part, though the plot’s revelation comes as a heavy blow, not swift enough for the film that frames it.

Grade A propaganda of the first order.

Truly Madly Deeply is a truly, madly, deeply romantic film, and Stevenson and Rickman have a natural rapport. What distinguishes the film more than that is the uncommon intelligence with which Minghella approaches this fanciful situation.

The film uses voyeurism, knowing exposure turns desire into a visual battleground. To look is to risk punishment; to be seen is to invite destruction.

It made bold choices to be a memorable sequel, and most of those chances are exciting. While it has some definite hits and misses, it finds its rightful place in the franchise.

Their drugs are Cigarettes, Television, and Hostess Cup Cakes. In the end, if I am ever reincarnated and I have my choice between hating my White Trash Mom or hating my movie star Mom. I'm picking the movie star Mom every time.

Finally receiving a theatrical release 20 years after it was made, Philip Hartman’s “No Picnic” emerges as an entertaining if flawed relic from a very different era.

While this movie comes nowhere near being as good as the original, it’s much better than Part 2. In the end, though, it’s really just another generic slasher flick with nothing beyond the Leatherface connection to recommend it to discerning fans.

Mapantsula is timely and relevant 35 years later.

The atmosphere was the first treasure, Michael Ballhaus’s cinematography that makes Seattle as alive as the characters, as active as their desires.

It’s a film my kids still enjoy, although it’s a bit lightweight as Miyazaki’s works go.

Pallenberg’s creaky slasher film is one that you’ll either love or hate, and while many will opt for the latter, it’s good campy fun with some of the dumbest scenes you can grab from a slasher of this decade.

Robinson is more adept at the surrealism than the satire, and when the latter takes hold toward the end, the film falters; however, Grant doesn’t, and the film is worth a look if only for his fearless, funny work.

If you're in the right mood this movie will bring a tear to your eye. If you're not you're probably already watching "Reservoir Dogs".

There is nothing wrong with grade-A prime aged Angus beef, but sometimes all you really want is a McDonald’s hamburger. “Major League” is the quarter pounder with cheese of baseball movies. There’s nothing original about it, all the characters are stolen from other books or movies, but it understands the longings of a starved baseball town, and manages to wring out plenty of laughs from familiar situations.

To me, Say Anything is without a shadow of a doubt the most rewarding, funny, and likable romance of the last twenty years. It heralds the decency of romantic love against the gears of a cold, grinding mechanical world.

This is an amazing black satire filled with vicious biting words that snap like firecrackers.

Forest Whitaker is the perfect guy to play Parker, Diane Venora is hotly sympathetic to Parker's genius as his last wife Chan, and Eastwood's intentions are pure and golden, but Bird is a solid base hit on a hanging curve ball that should have been knocked well out of the Park. It's a powerful Heroin parable, but it could have been so much more.

The film is sympathetic to the underpaid players, but doesn’t shirk away from their crime. Cusack is particularly good as the player whose faith in his friends and baseball was destroyed while his life was torn asunder by circumstance.

The funniest buddy movie ever and a generally daffy one at that. It features some of the most genuinely stupid and amusing tough guys in the history of cinema, and a tantalizing slow burn by Deniro.

This is Dirty Harry's greatest hits, which is a little fun and a little embarrassing. The best part of the film is a warped version of "Bullitt"'s San Francisco car chase through Pacific Heights.

Eddie Murphy does everything in this movie successfully. Coming To America remains his most personal work and a great argument that a movie can be decent and wholesome despite having enough profanity to make Bill Cosby lose sleep. A perfect argument for Eddie Murphy as decent guy even without the fame and fortune. Not that he's planning on giving it back though.

The best movie ever made about baseball, and it's not even really that close... "Major League" was funny, but Bull Durham is funny, literate, romantic, and overwhelmingly adherent to the idiosyncracies of the game.

While it would be foolish to expect a completely faithful Shakespeare adaptation from Godard, there is no pleasure in being fooled into thinking that this vague, obscure, annoying, cacophonous wreck of a film is anything but a joke being played by a self-indulgent filmmaker.

It’s a great comedy, and a deeply touching one, too.

An effective comedy, an interesting bedtime tale, and one of the greatest date rentals of all time.

It’s every kids dream to fight monsters, and in some ways The Monster Squad helps us live out that fantasy. And it’s a damn good film chalk full of horror movie references, and nods to classic films that only the discernible eye can catch.

It’s a good-looking movie overall.

The film can be enjoyed on many levels, including getting just interplanetary on your favorite substance and waiting for the plethora of quotable lines.

Predator is a classic action/sci-fi film, albeit a dated action/sci-fi film.

The guys in Ishtar are the boring wallflowers of the world. They probably shouldn't be mocked, disgraced and beaten, but who really wants to spend close to two hours with them.

Thanks to Sam Raimi’s inventive style and Bruce Campbell’s hysterical performance, the horror-comedy genre has grown into a legitimate genre, but Evil Dead 2 will forever be the king.

Deadly Friend hasn’t aged well. In fact, it’s quite crappy.

As with the Jarmusch’s best work, it is kept simple and taken very slowly and is just sort of allowed to happen. The magic lies in the lulls.

As with all of Mann's films, Manhunter is an intense experience. All of the actors, including even legendary goofball Chris Elliott, give brooding, serious performances.

This movie is a great, big mess. It’s never truly scary, and you get the feeling that Tobe Hooper’s been living off the original flick’s rep for so long that he didn’t give a damn if this movie sucked or not. And, believe me, it does.

This is yet another example of the Big Studio pushing out a film for the sole reason that they own the intellectual property and believe that we, like sheep, will see it because… well, we’ll see anything because we’re desperate for content.