The Chosen is slowly absorbing and ultimately powerful, because it takes the time to reveal its characters in all their quirky complexity. [27 May 1982, p.100]

Aided by Vladimir Cosma's haunting score (and that great Catalani aria) and by Philippe Rousselot's bravura cinematography, Beineix makes an utterly stunning debut. "Diva" demonstrates the depth of pleasure a shallow movie can provide. [18 Apr 1982, p.96]

Chariots of Fire will thrill you and delight you and very possibly reduce--or exalt--you to tears...Chariots of Fire is for everyone; it's exactly what a popular film ought to be: superb work by first-rate people out to achieve the highest standards of excellence. [28 Sept 1981, p.88]

Cat People retains the psychological suggestiveness of the original while adding a blazing, carefully controlled eroticism and violence as well as state-of-the-art special effects and a ravishing over-all physical design. And it has the quintessential cat-person in Nastassia Kinski. As with all horror classics, what might be ludicrous is transformed into something gripping by the passionate logic of a grotesque metaphor. Alan Ormsby's screenplay has the logic and Paul Schrader has the passion. The result is Schrader's best work as a director. [05 Apr 1982, p.74]

This is funny? Yes, as Pryor does it--not as knee-slapping farce, mind you, but as the painful comedy of endured humiliation of which he is the master... But it's high time Pryor stopped redeeming badly made movies and surrounded himself with talents equal to his own. [12 Apr 1982, p.87]

There's plenty of violence in The Long Good Friday, but it's good old macho man-against-man violence and the film has crisp direction from John Mackenzie and a tight, smart, sophisticated script by a first-rate English playwright, Barrie Keeffe. [15 Mar 1982, p.78]

Eating Raoul is only one of the many outrageous things that Paul and Mary Bland do in this outrageous black comedy that's almost certain to be the up-from-underground movie of the year. [11 Oct 1982, p.103]

Take this classical-farce premise, put it in the very accomplished hands of the neoclassical director Blake Edwards, and you have yourself a real comedy -not a mere grab bag of gags but a deliciously accelerating divertissement on the theme of role-playing, sexual and otherwise. [22 March 1982, p.84]

Director Guy Hamilton's movie is rather more effective as an advertisement for Majorca than as a thriller, and the idea of Ustinov as Poirot remains more enticing than the reality, but you could do a lot worse. Think of it as a languid cocktail party with a terrific guest list. [22 Mar 1982, p.85]

It's a real writer's movie, happy to linger on a psychologically telling moment--and audiences expecting a big payoff may feel disappointed. "Diner" isn't the kind of movie that jumps up and down to please. But while seeming to traverse familiar ground, Levinson and his superb young cast are sprinkling it with sparkling insights. [19 Apr 1982, p.96]

Pseudo-lush but crummy flick. [15 Mar 1982, p.78]

It's no soap opera: it's serious, unsentimental and novelistic in its preference for anecdotal detail over melodramatic plotting and filled with fresh, acute and moving moments. Shoot the Moon can also boast of excellent performances and Parker's most controlled direction to date. Yet these many virtues don't add up to a completely satisfying film. [25 Jan 1982, p.75]

If Barbarosa is a decidedly bumpy ride, its quirky ambitions are always interesting. Schepisi doesn't play safe, but he's a real filmmaker -- even his mistakes are arresting. [02 Aug 1982, p.62]

Quest for Fire is diverting and well made, and kids should love it. Chong is delightful as the first feminist heroine. And as bloody and brutish as the fights are, the film is resoundingly sweet-natured at heart. [15 Feb 1982, p.61]

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]

Splendid film...Just as the recent "Chariots of Fire" did, Robert Towne's Personal Best takes the world of track and field as a microcosm for the ecstasies and pains of self-striving. And it dares, with great delicacy and insight, to show a loving sexual relationship between two young women, not as a statement about homosexuality but as a paradigm of authentic human intimacy. [8 Feb 1982, p.60]

This courageous film breaks new ground in movie musicals. [21 Dec 1981, p.49]

Taps aspires to be both a movie for the conservative '80s and a youth-in-revolt, anti-military movie of the '60s. The contradictions break the dramatic spine of director Harold Becker's film, which grinds to a predictably violent climax without ever having made its basic premise believable. How many teen-agers do you know who would sacrifice their lives for a military school? [28 Dec 1981, p.65]

This is an epic you have to listen to--it's about people who trade in words, who make revolutions in their heads, and Beatty and Trevor Griffiths's script is full of some of the best talk in any movie this year. [7 Dec 1981, p.83]

Sleek, moody, violent and romantic, Sharky's Machine is not only the most seductive Burt Reynolds movie in many a moon. Reynolds is turning into a stylish director, and he sets a distinctive tone of languid menace. Though he can be graphically brutal, Reynolds isn't after realism, but a kind of gauzy, slightly baroque romanticism. [28 Dec 1981, p.64]

The ads for Neighbors call it "a comic nightmare"; it's more like a sour case of creative indigestion. [21 Dec 1981, p.51]

Rollover wants to be a thriller, love story and economics lesson rolled into one, but in trying to do so much, it shortchanges each element. The screenplay (by David Shaber from a story by Shaber, Howard Kohn and David Weir) doesn't hang together. [14 Dec 1981, p.125]

Time Bandits is at once sophisticated and childlike in its magical but emotionally cool logic, and this tone is perfectly captured in young Warnock's appealingly sensible performance. Cleese, Warner, Richardson, Holm and Connery are in great form, and the bandits (David Rappaport, Kenny Baker, Jack Purvis, Mike Edmonds, Malcolm Dixon and Tiny Ross) are all gifted comic actors. Made on a modest budget, Time Bandits is a wonderful wild card in the fall movie season [09 Nov 1981, p.92]

The plain fact is that Halloween II is quite scary, more than a little silly and immediately forgettable. [16 Nov 1981, p.117]

As dumb as Looker is, it's not dull, and Crichton does pull off one very funny sequence--a black comic climax in which corpses and commercials become hilariously intertwined. lt should have been a skit on "Second City Television." [2 Nov 1981, p.108]

Their best work since the fresh and appealing studies in cultural clash they made in India in the '60s, such as "Shakespeare Wallah." Movies are not literature, and Ivory is a dangerously literary director. But in Quartet he has found the images to express Jean Rhys's troubling vision of female fatality. [9 Nov 1981, p.94]

The French Lieutenant's Woman is one of the most civilized and provocative movies of the year, but it falls just short of greatness. Perhaps Reisz and Pinter are too innately reticent to wring the last drop of emotional power from Fowles's story. [21 Sep 1981, p.96]

A unique and provocative film, ironic, funny, crazy and moving. [26 Oct 1981, p.78]