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.