(Kusturica) celebrates its gaudy humanity in a joyous picture that is his most lighthearted and amusing work to date.

Surprisingly charming and even witty match for the best of Hollywood's comic-book adaptations.

The John Wick action series doesn’t get bogged down in such silly trivialities as character development, plot, dialogue, morals or any of the usual rubrics most films follow. Instead, these fun flicks are just loosely connected, extremely violent fight scenes starring Neo from “The Matrix.” And why the hell not?

The action is brutal, bloody and virtually nonstop in this adrenaline-packed riff on "Assault on Precinct 13.''

The violence in the existential gangster poem Sonatine is as flat and matter-of-fact as the antihero's face. Kitano, the Japanese Harvey Keitel, is a bullplug of a man whose very presence has gravity. [10 Apr 1998, p.048]

Sweet isn't a word often used to describe movies these days, but it's one that applies to The Cave of the Yellow Dog.

Johnny Depp puts in a cameo declaring that "most Americans believe the clichés about Gypsies." Unfortunately, the well-intentioned film never gets beyond clichés itself.

Davies’ quiet, painterly film largely eschews musical cues that would heighten its emotional impact, but as it is, Sunset Song is captivating in its sincerity.

Writer-director Erik Van Looy keeps the action moving briskly. Danny Elsen's cinematography is stylish and the acting top-notch.

Based on the many delightful samples on the soundtrack, it's an exemplary goal.

Part sitcom, part comedy of manners - but it lacks the courage to deal honestly with class and ethnicity.

The teary-eyed sincerity of the music-industry drama Beyond the Lights is at times too much, but despite its cliche elements, the film at least has the feel of a passion project.

It's like animation come to three-dimensional life, and f/x addicts as well as sci-fi fans will not want to miss a split-second.

Anything following that spectacular sequence is bound to be something of a letdown - especially when it ends up playing like standard-issue Hollywood melodrama.

The very effectiveness of After the Life's depiction of its main characters makes its immediate predecessor seem that much more of a waste.

Working from an unfinished script by the late, great Krzysztof Kieslowski, Stuhr directs in a laid-back, deadpan style that, at times, recalls Fellini.

This satisfying adaptation of a popular novel is mostly an artistic reflection on youthful loss of innocence.

An amusing McGimmick.

Enthralling performances are given by Tadanobu Asano (Miike's "Ichi the Killer") as Kenji and first-timer Sinitta Boonyasak as the pot-smoking Noi.

A South Korean romantic comedy by Hong Sang-soo, who has been likened in style to France's venerable Eric Rohmer.

The movie itself is a powerful cocktail of not just sex and love but race, poverty, colonialism and jealousy.

Jim Broadbent and Lindsay Duncan are superb as the couple, who use the occasion to drop bombs on each other.

A grabber from start to finish that should win new fans for cult-favorite To.

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

An exquisitely crafted Civil War epic that combines the epic romantic sweep of "Gone With the Wind" with a more intimate voice that speaks eloquently to the war-weary nation of today.

The narrative easily goes back and forth in time; despite its Oedipal subtext, it avoids exploitation. Stellar performances by Rottiers and Cattani help keep the movie on track.

Scene for scene, it's like a gorgeous painting come to life, magically illuminated with a warm, orange glow. Unfortunately, those very sets and costumes take priority over a plot that - at best - is glacially paced. [06 Oct 1998, p.070]

Me and Orson Welles is, in effect, a sequel to Tim Robbins' star-filled, self-important film about "Cradle," but it's far lighter on its feet.