Malle and Hare have created a devastatingly understated film about the ravages of passion.

Warrior is a straight genre picture, a fight movie of the old school. But it's a mixed martial arts tale, and as such, it's the best MMA movie ever.

Manhattan Murder Mystery is Allen's lightest, most inconsequential production in ages. It is, you might say, fun while it lasts but not a moment longer. [20 Aug 1993, p.17]

You'd better watch out. You'd better not swear. Have a gun handy, loaded for bear. Santa Claus is coming…to Finland.

Though A Perfect World may deserve to be attacked for its casual pacing and occasional clumsy staging, and for one or two less-than-fabulous performances, the darn thing kind of grew on me. [24 Nov 1993, p.E2]

Cassel's performance...the best reason to see this, one of the best French (In French with English subtitles) crime thrillers of the new millennium.

Even if your expectations were not especially high, chances are that you would be disappointed by Into the West. [17 Sep 1993, p.21]

Ending The Paper cleverly - in the spirit that it begins - doesn't appear to have occurred to Howard and the Koepps. And that disappointing ending is certainly the movie's loss. [25 March 1994]

Exodus, a marathon undertaking by producer/director Otto Preminger, is among film epics such as Quo Vadis, War and Peace, Ben-Hur, Lawrence of Arabia and Spartacus that were churned out during the 1950s and '60s. [05 Apr 1992, p.55]

Like a political cartoon, Bob Roberts can sometimes be so overtly political that the humor starts to fade. Toward the end, especially, the movie loses some of its force by forcing the issue too far. But Robbins shows so much energy, intelligence and audacity in his directorial debut that it isn't hard to forgive his excesses. [25 Sep 1992, p.18]

It's as disquieting as it is unsatisfying, a slog through gender issues, surgery and violence - sexual and otherwise.

You may see a better movie this summer, but I doubt you'll see a funnier one. [7 June 1991, p.8]

The film's flaws are at least as obvious as its strengths. But LaLoggia knows something of childhood's secrets, and has managed to get what he knows on the screen.

There is little urgency to this spiraling disaster. Soderbergh has made a lot of noise this past year about quitting directing and taking up a less collaborative, more solitary pursuit - painting. This is an anti-social painter's movie. Millions are dying, but he doesn't care that much. So why should we?

Without mystery and glamour, Madonna may never make it as a star of regular movies. But for this dish-umentary, she's absolutely perfect. [17 May 1991, p.7]

It's a farce with sexual come-ons and actual sex - the Boy Scout Tim's first encounter with a hooker and a crack pipe - but Cedar Rapids never loses track of the humanity of its characters.

this is a straight-ahead ticking clock thriller, with the usual Tony S. trademarks - punchy dialogue and men doing what needs to be done.

It's a vivid, blunt and candid look at their kill-or-be-killed existence, which Joubert writes and Irons narrates is "the eternal dance of Africa."

A suspenseful, near-forgotten gem about a captured loyal Luftwaffe pilot, Franz Von Werra (Hardy Kruger), who is obsessed with escape. [05 Jun 1994, p.F1]

A Shock to the System, a dark comedy with the structure of a thriller, is delightfully hard-edged. [23 Apr 1990, p.C1]

This good and gentle film, directed by Sydney Pollack (Tootsie), might have been fashioned to make the most of Streep's natural qualities of independence, humor and sophistication (bordering on snobbishness) and her exciting suggestion of untrustworthiness.

In a genre - the animated holiday film - already overflowing with the sentimental, the silly Arthur Christmas is a most welcome treat to find stuffed into the cinema's stockings this holiday season.

Those who enjoyed the gremlin-in-the-microwave scene from the first film will probably love the paper-shredder sequence in the new one. [15 Jun 1990, p.6]

The Elephant in the Living Room is damning, but also very sad. These stories, as Harrison points out, never have a happy ending.

As spy thrillers go, more chilling than thrilling. But that's what makes it easy to relate to.

This isn't "Up in the Air," and we're not dealing with this awful event on a metaphysical level. But there's truth in between the cliches.

Of all the gonzo-goofy comic book adaptations that embrace video gaming sensibilities, Scott Pilgrim vs. The World is the gonzo-goofiest.

This superficially engaging movie leads you to expect something more - something that would suggest how the experience of playing professional ball changed the lives of the women in the league, and how the league itself may have helped to alter the general public's notions of women and sports.