Parker recreates the hate-and-fear-filled atmosphere in that small Southern town with broad brush strokes. But in the end, all of his spectacular fires send out a lot more heat than light. [13 Jan 1989, p.E1]

The film about violence and retribution is a tough piece of work, subtle in some ways, obvious in others, viscerally affecting throughout.

The film raises significant questions about manhood and offers a few gripping sequences, but isn’t fully satisfying.

This is a lean, fast-moving and effective movie, with an undersea world that is as vast and lonely as outer space.

Sly and insightful fable.

A powerful new documentary that addresses the issue of "hypocritical" male politicians.

The Pillow Book sometimes seems like three different movies, each one an eyeful but together too much of a good thing.

To my eyes, the whole thing looks sad, like something people might cling to in the absence of religion - or a kind of religion in itself, minus dogma or salvation, but with lots of people standing around dressed like total goofballs.

With The Way, writer-director Emilio Estevez has made a respectable failure. What's respectable - and undeniable - is that this is a sincere effort to make a film of sensitivity and spiritual richness.

Best of all is the work of Gillian Jones, who shows up in one scene as "Grandma."

Coppola has no trouble convincing viewers that Marie Antoinette is an interesting historical subject, but there's a big distance between that and creating a fascinating personality or fashioning a compelling narrative.

Provocative, audacious.

The movie is like one of those newfangled Vegas casinos, where what appears to be open sky is really painted ceiling. What's initially dazzling becomes stifling.

Has to be enjoyed in spurts. There's no cohesive story, just a series of opportunities for the title character (Jon Heder) to strut his gawky stuff.

Naomi Kawase’s films don’t hammer toward arbitrary plot points but flow like water, so “True Mothers” doesn’t unfold like a Hollywood blockbuster, or indeed, even most arthouse films. It courses along softly and confidently, with unexpected ebbs and estuaries.

By avoiding the usual cliches of the freedom saga, Suffragette finds its way to its own, specific integrity. It’s a movie that’s easier to respect than love, but it is something to respect.

A gripping film that re-creates the fear, bewilderment and anguish felt by thousands during the anti-Communist witch hunt in Hollywood. Robert De Niro gives one of the finest and most modulated performances of his career as David Merrill, a famous director trapped in the miasma of suspicion that haunted Hollywood in the '50s and '60s. [15 Mar 1991, p.E1]

Despite the fact that both protagonists are equally appalling, the screenplay seems to have a soft spot for the woman. However, this doesn't take away from the fun of watching the two characters tear each other to pieces.

This is by no means a polished film. But it has an energy lacking in thrillers that cost hundreds times more to make. It should be viewed as a calling card from gifted and resourceful filmmakers whom I hope some Hollywood producer will have the sense to sign up immediately.

Directed by Danny Boyle, it lacks even a single moment of charm or interest.

It's the grittiest, most plausible movie depiction of the poverty-level black urban experience since Boyz N' the Hood. John Singleton showed a surer hand in directing Boyz, but Anderson displays promise and generates real emotion. [17 Oct 1992, p.C3]

An inspiring translation of biblical grandeur, turning the story of one of history's greatest heroes into an entertaining, visually dazzling cartoon.

He Got Game seems to cheer for integrity, honesty and hard work while playing up its own cheap thrills.

The foundational mistake came when someone said, “Hey, let’s make another ‘Alien’ movie.” Newsflash: The alien concept is dead. Leave it alone, and leave poor Ian Holm out of it.

At its best, and it’s mostly at its best, Frozen II has an air of enchantment.

Still, the goodwill lingers, even though Mother and Child falls down, dies and is beginning to look a little green and stiff about 15 minutes before the finish line.

One of the rare films that directly responds to and expresses modern anxieties, this debut feature from director Henry Alex Rubin interweaves the stories of three sets of people, whose lives are upended through various bad things that happen over the Internet -- including bullying and identity theft. A fascinating and riveting thriller.

Perhaps it helps to think of Goat as a horror movie. There is a genre of horror film known as torture porn — films that revel in graphic depictions of torture, violence and sadism, mostly to defenseless victims. Think of Goat as hazing porn.