A poignant, graceful little film.

Achieves the odd distinction of being the first post-9/11 NYPD corruption movie - complete with a shootout in the Criminal Courts building. Cool.

Director Daniel Chong’s original movie is terribly funny, and often in an unfamiliar, warped way for the cerebral and mushy studio.

So beautifully made (everything in it is understated except the gorgeous good looks of its stars) and turns out to have such real cumulative power that it is worth holding out to the end.

The Class offers no Hollywood ending, but is rewarding for those up to the challenge.

Lets both sides sound off without offering a spin of its own. [12 Jan 2005, p.70]

As subtle and careful and slyly disturbing as Child’s Pose is though, it and many others of its genus suffer from an airlessness, pacing like the growth of algae, a dishwater color palate and a dirge-like monotone.

Structurally flawed, occasionally shlocky, but written with unusual intelligence and subtlety.

A hilariously deadpan black-and-white slacker comedy, Duck Season is sort of like "Wayne's World" directed by a Mexican Jim Jarmusch.

Stephen Beresford’s script’s has its cornball fish-out-of-water touches to be sure, but Pride is a bona fide crowd-pleaser — wearing its heart on its sleeve as the film builds to an ending that’s as satisfying as it is surprising.

A powerful piece of filmmaking.

The franchise’s greatest transformation yet: He’s made a pretty good movie.

Never seen, but often heard bellowing profanities from the other end of Jane’s desktop landline, the boss and his eyebrow-raising closed door meetings dubbed “personals” provide the menacing undertone of this day-in-the-life drama.

Sentimental and predictable? Sure, but The Butterfly is so well-meaning and the wide-eyed Bouanich is so sweet and lovable only a Scrooge would dare complain.

As Tears Go By doesn’t measure up to Wong’s later classics, such as In the Mood for Love (2000) and Chungking Express (1994), but it shows a master in the making.

Director/co-writer/cinematographer, Yam Laranas, still delivers a maximum of suspense and horror, working wonders with a small budget.

A crowd-pleaser of the first order.

Disney, take note: This is how to do a winning live-action update of a cartoon.

Director and co-writer Lexi Alexander choreographs the fight scenes with thrilling chaos, and the plot unfolds expertly if melodramatically.

As pure comedy, it’s a hoot.

It’s an entertaining melodrama of the old school that plays out with the clockwork inevitability of a “Columbo” episode.

Khaou’s film features masterful performances from Whishaw and Cheng, whose dialogue is somehow intensified, rather than diluted, through the third-party voice of the translator. But some emotions, the film suggests, are impossible to adequately articulate in any language.

If the sequel is a notch less than its astounding predecessor, that’s because — like Adonis Creed does during moments of doubt — the filmmakers are overcomplicating things.

A Touch of Sin is by no means subtle, but it is composed with a passion and sinuous grace that makes it far more effective than many other sincere message movies.

A lush, genteel romance of the Merchant-Ivory school that qualifies as a guilty pleasure -- largely because of the unexpected chemistry between its improbably matched leads, Gwyneth Paltrow and Aaron Eckhart.

Aside from a jarringly fake computer-generated avalanche scene that momentarily challenges the necessary suspension of disbelief, the big-bang set pieces are superbly crafted.

Under the generous debut direction of Damon Cardasis, there’s enough heart and raw truth here to uplift the moments that falter.

Best remembered as the most flamboyant of TV's original "Hollywood Squares" - which is really saying something on a panel that included Paul Lynde.