Every bit as tasteless, irreverent, silly and smart as the Comedy Central cartoon that catapulted creators Trey Parker and Matt Stone into the Hollywood catbird seat.

The best movie to date from England's satirical sextet. [04 Apr 1983, p.74]

The secret of their endurance is not just in the grossness of their humor -- though their new film is even funkier and funnier than "Up in Smoke." As flipped out as their patchwork story gets, it always stays in touch with a very specific urban reality, a world where you make jokes out of taking a urine sample to your parole officer and find hilarity in Cheech's pathetic attempt to sing his naive Mexican-American protest song. [11 Aug 1980, p.69]

It’s too early to place Eminem alongside those Hollywood giants (Jimmy Cagney/John Garfield), but the promise is there. He understands the power of being still in front of a camera. Compact, volatile and burningly intense, he’s got charisma to spare.

Zwigoff doesn't hype up the gags, and his deliberately deadpan style gives even farfetched jokes an edge of reality.

What makes The In-Laws so engaging is not simply the escalating madness of Andrew Bergman's story (such whimsy could easily grow tiresome), but the deadpan counterpoint supplied by the two stars, who navigate their way through mounting disasters with an air of hilariously unjustified rationality. Bergman's script was tailor-made for Falk and Arkin, and they make the most of it. [02 Jul 1979, p.68]

A rousingly funny slapstick comedy about the day John, Paul, George and Ringo set off a tidal wave of adolescent hysteria in New York City. Surprisingly, nostalgia accounts for very little of the movie's charm. [01 May 1978, p.91]

Because there is no point in worrying over hapless victims, the audience can devote its energies to trying to guess how the master will stage his next sneak attack. It's futile. At 76, Hitchcock is still one jump ahead. [05 Apr 1976, p.85]

This movie has teeth, and it's not afraid to bite. [6 July 1981, p.7]

This hothouse tale of grief, sex and betrayal is told with a cool detachment that renders it commendably unsentimental--and slightly remote.

A dizzying mixture of the sophisticated and the naive, the deft and the clumsy, Bulworth is overstuffed, excessive, erratic -- and essential.

Comic electricity.

The word for The Changeling is chilling. Medak doesn't pummel the audience with gore and Exorcist-type shock tactics. More than once, he raises real goose bumps using nothing more extraordinary than a bouncing rubber ball. [31 Mar 1980, p.82]

As brilliantly shot as it is brutally single-minded, this is a war movie shorn of all its usual accouterments: the battle is the plot.

Lively, likable and refreshingly unsensationalistic about the drugs and sex that come with the territory, this techno-propelled mash note to the rave spirit sticks to the surface.

Beautifully served by Eastwood's self-containment, which is less granitelike than usual (he has a soft spot for that mouse), Siegel sets these various escapes ticking like a time bomb. [22 July 1979, p.67]

Wong Kar-Wai's cinematic style is unmistakable: hip, colorful and energetic and the film's frenetic pacing and exuberant camera work make the streets of Hong Kong a neon wonderland.

Lurid, illogical and utterly off-the-wall, this funny-scary exercise in low-budget schlock is a marvelous orgy of cheap thrills, including a supernaturally sinister mortuary, a hideously wriggling severed finger, one furry flying creature, dwarfs from the Undead, and the goriest - indeed the only - blood-sucking flying steel ball in movie history. [16 April 1979, p.86]

A vital entertainment that struts confidently between comedy and drama.

Though a few scenes are amateurish and the lighting is less than polished, "The Wedding Banquet" is such a genial, openhearted sitcom that only a confirmed grump could resist it. [16 Aug 1993, p.61]

Schrader has never been one to coddle an audience, and this is as uncompromising a vision as he has given us.

The performance is a toure de force: Baldwin manages to make Junior very funny without sacrificing the character's scary, unpredictable edge. Quirkiness, not square-jawed heroism, seems to bring out the best in Baldwin,confirming Jonathan Demme's observation that "he's not a victim of his handsomeness." [23 Apr 1990, p.66]

In snuggling up so close to his heroine, Mazursky sacrifices some of the wild satrical highs we expect from him - the andante pacing could use a little more allegro (and a little less help from Bill Conti's overdone score). But we are more than rewarded by Muzursky's generosity and insight. He's burrowed deeper into the upper middle-class psyche than ever before, and if it's sometimes uncomfortable there, the unease is one we recognize as our own. [13 Mar 1978, p.75]

He’s (González Iñárritu) conjured up a dark, brutal vision of urban life that sticks to your skin like soot.

Intimate, moving and playful.

A meditation on love, faith and science in the guise of a thriller, the movie's a tad schematic, but thoroughly gripping.

The result is a film that's really moving--and really moves.

Jarmusch's punk minimalist style, deadpan humor and delicious timing are all his own, and his oddball drifters, whose major goal in life is hanging out, are three slob existential stooges Sam Beckett might envy. You wouldn't choose to hunker down with them in real life, but they're great company on screen. These dead-end kids may be headed nowhere not so fast, but their oddball odyssey is headed straight for cult-movie heaven. [08 Oct 1984, p.87]