It's a good movie not because it says the right things but because it says those things well. [18 Sept 1992, p.C3]

As the documentary shows, while it lasted, it was really something.

This is bad, borderline garbage, but disturbing, too, in that it’s just the kind of fake-clever awfulness that might be cinema’s future.

While the documentary does a credible job of pointing out the magnitude of the problem, it skirts the issue of what can be done about it and by whom.

Sponge on the Run is very much a members-only affair. Then again, three movies and several hundred TV episodes into a 22-year-old franchise, it’s not unreasonable to think the audience for this adventure is pretty well baked into the cake.

Tom O’Connor’s script hits all the right notes, and Dominic Cooke’s direction brings out unspoken subtleties of the characters and their interactions.

It says something about this movie that Redford is at his most compelling playing opposite a nag.

Does nothing to elevate the form — and yet it doesn’t disappoint.

A compact British drama that does more with only three people and a few modest settings than most movies do with computerized bloat and a cast of hundreds.

Strives for an airy, merry amorality, but it never quite achieves liftoff, though at times it comes close.

Frankly, we are left with nothing, except with a movie that insists that we love it — or worse, assumes we will — because its subject is so worthy. Even on that score, that of convincing us of the worthiness of its subject, Maudie falls down.

As suspense thrillers go, “Dangerous Animals” is as uncompromising as it gets. It doesn’t aspire to much, but it’s well-acted and well-written, looks great and full of surprises.

The cast is uniformly good, but it’s Bardem’s sly, harried performance that powers this overlong, and more amusing than funny, comedy.

An audacious film, set in contemporary Marseille.

A breezy, occasionally funny spoof.

Carax, with Pola X, has become a parody of himself with a self-indulgent, overreaching style that many viewers will find a struggle to watch -- provided they can contain their contempt for pretentiousness.

Jodie Foster stars, and it's a pleasure, for once, to see her in something entertaining and mindless.

It’s the kind of observational humor that instills a knowing chuckle and nod of the head, as opposed to an all-out chortle.

In a blind taste test, I couldn't possibly have identified this as a Linklater movie, and he's a filmmaker I generally like. If anything, Bad News Bears shows that Linklater can get in and out of a movie like a cat burglar, without leaving his fingerprints anywhere. OK, he's proven it. He need never do that again.

This is the best disappointing movie you will see all year.

You can view the film narrowly as commentary on the soul-crushing fury of being HIV positive, or take a few steps back and see Araki's film in a more universal sense as the disintegration of human values caused by an obsessive culturewide drive for self-satisfaction and indifference to others. The Living End is much more than a time capsule, thanks to Araki's daring as a filmmaker.

Story pitches are made. Coke is snorted. There is lesbian sex. Fellatio. An earthquake. A murder. Just another day in Hollywood.

White structures the documentary as an absorbing adventure tale, and that it is.

In one sense it's aged surprisingly little -- the language and physical gestures of camp are largely the same -- but in the attitudes of its characters, and their self-lacerating vision of themselves, it belongs to another time. And that's a good thing.

The idea is intriguing - an inflatable sex doll comes alive and experiences the world with wide-eyed innocence - but Hirokazu Kore-eda's "Air Doll" is only partly successful. The film's poignant depiction of human loneliness is undercut by saccharine notes and a drifting tone.

As a runner, the robber is dogged; as a robber, the runner is efficient, explosive and fast.

Entertaining and compelling.

Alan Rudolph's direction is active but unintrusive, highlighting some of the more chilling moments with slow-motion sequences and odd cross-cutting. [19 Apr 1991, p.E1]