Silly as it is, The Contende has a lurid zest that keeps you hooked, and a rambunctiously good cast.

Packs an irresistible emotional punch.

Harris leavens the familiar suburban angst with dark humor, rich characterizations and a terrific cast.

There’s much to argue with, but this unconventional, oddly beautiful film resonates in unexpected ways.

Twohy knows how to shoot tense, bare-knuckle action, and his towering, gunmetal gray world is a fun sandbox to play in for two hours.

Thematically, The Krays bites off more than it can chew: It's hungry for significance. But the horror of the twins' tale holds you in its clammy grip: it's a high-class creep show. [26 Nov 1990, p.80]

There's an aura of liberal ineffectuality about The Brother, but it's touching and amusing and confirms the originality of Sayles. [08 Oct 1984, p.87]

A tale this outrageous would seem to demand a more freewheeling style, but Shelton never really lest his hair down. His movie peaks too early: it feels over when Long loses the gubernatorial election; the last half hour seems redundant. But if Blaze isn't quite the movie it could have been, it's much too good a tale to pass up. [18 Dec 1989, p.68]

Let's face it: Culkin's self-reliant suburban warrior has entered a whole generations pop mythology. He's their Knight in Shining Parka, safely beyond criticism.

A far more accomplished anthology than Creepshow, Cat's Eye assumes an honorable but not exalted position in the multimedia King empire. But expect as many giggles as goose bumps. [06 May 1985, p.73]

You may leave the theater with a bit of a headache, but you'll feel amply compensated by the sense of having seen a master inventor at work.

Zemeckis has always relished technical challenges; once again he pulls them off with high style.

As much as I enjoyed its cheap thrills and its exquisite craft, Dressed to Kill left me wanting something more from De Palma.He has begun to borrow from himself -- one crucial twist is lifted shamelessly from "Carrie" -- and his jokey disregard for psychological plausibility (most evident in his disastrous "Obsession") is beginning to seem just lazy. It may seem unfair to ask for more depth from De Palma when his surfaces give so much pleasure, but from a director this prodigiously talented one expects miracles. Dressed to Kill takes his series of Hitchcockian homages about as far as they can go. It's exhilarating dead-end moviemaking, and one eagerly awaits his next move. [4 Aug 1980, p.61]

Like any reunion, Texasville is filled with awkward moments. But it's a friendly gathering -- funny, a little sad and worth the visit. [01 Oct 1990, p.70]

A return to form after the flat "Life Aquatic," Darjeeling has a lightweight, coloring-book charm that deepens and darkens after these odd, privileged ducks are thrown off the train.

The Border has the air of a project marred by studio compromises -marred but not broken. Warts and all, it has more passion, texture and bite than anything Richardson has done in a long while. [01 Feb 1982, p.72]

The scary fun of the movie is embodied in a brilliantly filmed and edited chase sequence in which Smith tries to escape the ubiquitous cyber-eyes that see every inch of his flight.

There's something for everyone in this 70-minute special effects frolic, and lovers of the cartoon will find the movie relatively faithful to its animated predecessor.

Builds dread masterfully, but don't expect solace or "fun." This is not for those who like mysteries neatly resolved.

Impersonal Hollywood filmmaking at its most paradoxical. It keeps you glued to your seat, and leaves no aftertaste whatsoever.

Wise, humble and effortlessly funny.

Columbus's Harry Potter has many delights, but the magical alchemy that the book seemed to achieve so effortlessly eludes it.

The Idolmaker would be worth seeing if only for its modesty, which is a blessing in these days of ersatz epics. It's a small, honest, decently entertaining film with one outstanding performance. [08 Dec 1980, p.107]

Gorgeous, mesmerizing, and stunningly well acted.

Demme has lots of fun, and, aided by a fresh, talented cast, he artfully modulates his moods from raunchy farce to somber pathos. [17 Oct 1977, p.102]

Frankie & Johnny is a hard movie to dislike. Marshall and McNally have a real fondness for their characters and a deep trunkful of showbiz savvy. The playwright's delicious one-liners detonate with precision timing. The supporting characters, expertly played, have the kind of instant familiarity of regulars on a favorite TV sitcom. [14 Oct 1991, p.68]

Penn and McGuane have made an intelligent, entertaining Western, nicely balanced between the protagonists and the well-woven, colorful tapestry in which they're placed. [24 May 1976, p.103]