British director Mike Figgis has a genuine knack when it comes to things such as mood, pacing and atmosphere. But he tends to lose track of crucial points - such as whether or not a central character comes out of the story alive. [19 Jan 1990, p.4]

If it's explosions, gunplay and wartime treachery that you're looking for, then director Brian Hutton's Where Eagles Dare is right up your alley. [12 Mar 1995, p.51]

The movie blends comedy with drama, and if it isn't the best party you'll ever attend, it does at least manage to sustain a party atmosphere. [20 Sep 1991, p.20]

These Elvis clones are just one aspect of the zany atmosphere in this sometimes-entertaining comic romp.

Green Zone isn't so much a bad movie as a misguided one.

The thrills and spills are often fun, despite their predictability. Watching this movie doesn't seem so much like white-water rafting as it does like taking a theme-park thrill ride that you've already taken a few dozen times. [30 Sep 1994, p.25]

A routine action drama, Rudyard Kipling's The Jungle Book contains qualities of both forgettability and painlessness.

Although the second half of the picture (which could have been called Single White Females Can't Live Together) is mostly a waste, the early scenes are tantalizing enough to be worth a look. [14 Aug 1992, p.17]

Comical, colorful, wonderfully cast and beautifully animated.

Cry-Baby is hipper and funnier than any Elvis flick ever was, but in many ways it's not so different from Viva Las Vegas or Blue Hawaii.

The voice casting is on the money and these funny people - and I'm including Pitt, who plays this sort of self-mocking Adonis well, even in animated form - make this cute comedy come off.

It’s not bad, but as Scorsese, America’s greatest living filmmaker and film history buff should know, even Hitchcock came up short on occasion.

Equal parts inspired and irresponsible, the new film from Miguel Arteta (director of the cult hit 'Chuck and Buck') turns C.D. Payne's books into a hit-or-miss homage to that French classic of outlaw love, 'Breathless.'

Prelude to a Kiss is a kind of fairy tale, but it's a fairy tale grounded in human experience. [10 Jul 1992, p.10]

Henry & June is a difficult, uncompromising work whose best qualities are not likely to be appreciated by all filmgoers. But it is, quite simply, the most overwhelming film about ultimate freedom to reach us in years. [19 Oct 1990, p.12]

The Fly...will send cold chills down the spines of the most hardened horror addict. It's a dilly. [29 Aug 1958, p.9D]

The title’s a trite metaphor and the surprises are thin. But the sleepy scenery and charming performances – Stewart escapes her vampires and reminds everyone what the fuss used to be about – keep The Yellow Handkerchief from blowing it.

How bad is Something to Talk About? Well, it's not the worst movie I've seen this year, but it is the biggest waste of talent. [4 Aug 1995, p.18]

Movies like this one - with its spoofy jokes, vacant characters and indefensible plotting - do nothing to keep the western form alive. Deal me out of this con game.

The Cook, The Thief, His Wife and Her Lover is a serious film, but is it a great one? Not as far as I'm concerned. Overall, I'd say it's only pretty good, though parts of it are much better than that. [30 Apr 1990, p.D1]

An intricate and daft tale of love, family and revenge.

Davis and Spencer give faces and fully-fleshed out lives to women who must have been more than what they did for a living as The Help.

The leads are charmingly mismatched, but adorable enough to root for, as a couple. Forestier is a wildly uninhibited actress, sexy as all get out. She makes this girl dangerous, seemingly capable of anything.

But this movie is no more interested in Cleveland than it is, really, in baseball: It doesn't have the passion for the sport's curiosities that Bull Durham has, nor the feeling for the sport's heartbreak of Eight Men Out. Watching Major League may be better than watching no baseball at all. But its place in the annals of baseball-moviedom is bush league at best.

Crisp, compact and cryptic, The American is a standard-issue hit-man thriller tailor made for George Clooney.

Almost every shot is a postcard-perfect African vista, and every animal shown in majestic close-up.

Aside from Robert De Niro and his totally inappropriate performance, the cast is a mixed bag.

The magic in the film is in the actors. Only somebody who has stripped himself emotionally bare for the camera could achieve the level of performance that Goldwyn gets from every single SAG member on this set.