As before, Uys succeeds in creating uncomplicated, largely visual comedy through clever contrivance in a simple landscape that is somehow full of surprises. [13 Apr 1990, p.R13]

Made with disarming craft and cunning. Intermixed in the memories it leaves of horror and disgust are glimpses of impressive technique and savvy psychological insight.

For those disappointed in the grim, gritty feel of the latest James Bond movie and who long for the absurdity of the Roger Moore-era entries, Transporter 3, ought to fit the bill.

Wants to be a sex farce, a sports film and a serious meditation on Catholicism. To its credit, it succeeds as all three.

Gallo makes some fatal mistakes in his direction. As Griffin talks, he adds sound effects that are distracting and annoying. It's actually an insult to the comic -- as if his jokes aren't clever enough on their own.

As it unwinds, What Lies becomes both masterful and preposterous.

It's a heck of a character to chew into, and Spacey, never afraid to play a devil, enjoys himself a great deal.

There's only one direction for the movie to follow, and it heads there on a beeline. We could use some more information about Ivy, if we are going to take her seriously as a human. Instead, she's demonic and without history. That makes the enterprise resemble a comic book: a tale from the crypt, perhaps. [09 May 1992, p.C10]

While it's hard to dismiss his intention or effort, Harrelson's one-note performance sinks the film.

It's not a five star film, but it's no Motel 6 either.

Levinson keeps the film locked into a sort of low-key middle-age depression.

Though The Hard Word feels flimsy at times, its breeziness and humor, along with Pearce's performance, make it infinitely more amusing than it's got any right to be. You get the feeling that these actors had fun making this film, and that fun is contagious.

The film manages the rare trick of improving as it unrolls from the utterly putrid to the barely tolerable. And, friends, I wish to say that sometimes that is as good as you can hope for in this racket.

It's almost like you're watching a 100-minute trailer for a much better six-hour miniseries.

It's a shame that a movie centered on such a powerful and unique work of art is itself so obviously a corporate product.

Conrad seems to have used whatever clout he got from "The Pursuit of Happyness" to fund something personal and sincere -- a story that's ultimately about victories of character and suppressing your worst impulses.

If you might wish the film got deeper under the skin of the characters, you also feel grateful for the fact that you'll never get closer to them than watching it.

Free Zone is similar to the car-based films of Iranian filmmaker Abbas Kiarostami but with a more improvised, less-finished feel.

It's an ambitious, passionate, grief-stricken work of film art.

The young guns on board are Wong Kar Wai and Steven Soderbergh, and it's sad to report that they massively outshine the nonagenarian Antonioni.

The best-looking, best-scripted and funniest of Smith's pictures, it's also Smith's sharpest.

Whether Elia Kazan could have done something memorable with this script will remain an eternally open question. This film, though, is most effective as a reminder that Williams' works emerged from a certain time and place, and to approach them from another is fraught with peril.

It's a stylish and sweet film with moments of affecting brilliance that counterbalance its flaws.

Wahlberg is the centerpiece of Fear, director James Foley's surprisingly taut new thriller that's equal parts "Cape Fear," "Endless Love" and "The Wild One." [12 Apr 1996]

This overwatered trifle is doomed to wilt and fade quickly from memory.

Phantom may not be the best entry in the series, but it's the most technically accomplished, and it makes you as hungry for the next film as you've been for this one.

A fairly good movie about an evil subject.

While Predators isn't nearly as vivid or fresh as the original, it's certainly its strongest sequel.