This gory parody hits television where it hurts -- and draws blood. It will bring joy to the heart of anyone who hates TV.

Everything comes up forced and predictable in the nostalgic overload of bongs, Top 40 rock and boys' bluster about sex.

What makes the movie succeed is that Dorman doesn't only focus on the life of Aleichem (who had a tendency to build fortunes and then lose them), but a look at a society long gone and the legacy and traditions they and Aleichem left to Jews around the world today.

The actors perform as though this were a first-class effort, and at times almost make you believe it. Matthew Modine is boyish and explosive, and Melanie Griffith further establishes herself as an interesting and original actress. Her line readings are odd, yet strangely right. [28 Sept 1990, p.E1]

Hardy's performance takes a little bit of the sting away from seeing Gandolfini perform on a big screen for the last time. As irreplaceable as Gandolfini may be, it's invigorating to see a young actor elevating to similar heights right before your eyes.

Oldboy is an immersion into pure twistedness. The purity of its twistedness is its saving grace.

Crowe is not messing around here, not trying to dream up opportunities to throw himself another close-up. He’s a genuine director.

Félix and Meira appears to be a simple movie about fitting in, acceptance and sacrifice. Yet it’s so elegant and poses so many sides that it’s actually a very complex film with very complex characters.

If it seems to have the ingredients of an after-school special, the performances take it to another level. Gut level.

One of the most impressive actor-to-filmmaker transitions in recent years.

This is a film about small victories, huge defeats and finding the will to keep fighting.

Graham Greene ("Dances With Wolves") in one of the year's best performances, he's a fully dimensional character: pathetic and shrewd, tragic and bitterly funny.

A mannerless, styleless brute, Bullock's Grace Hart is Eliza Doolittle in sweats.

It's fun, it's kind of somber and it succeeds in making you think about how you might be squandering middle age.

Funny, very clever and still packs some cover-your-face bloody thrills that top any "Saw" or "Hostel" movie.

An ideal movie for an ideal time in America.

For people already interested in fashion, the film’s appeal will be obvious, but Dior and I deserves to go beyond a small target audience.

A visual masterpiece that powerfully explores male cruelty, too.

So many twists and turns, it seems like fiction.

Some say all the great movie stars are gone, but I say we've still got Charles Busch. A one-man archive of vanished showbiz glamour and period acting styles, Busch has reincarnated the great ladies of stage and screen in such camp treasures as "Vampire Lesbians of Sodom" and "Psycho Beach Party."

The protagonists and their idle dreams of a fiery wasteland may well be nihilistic. But the movie - with its stunning cinematography and lingering aftertaste of old-school heartbreak - most assuredly is not.

Bogdanovich films Noises Off in long, unbroken takes. Though for the most part he doesn't give us the whole stage but moves in to follow the action more closely, the camera moves as one's eyes might, while following the play. Bogdanovich does what he has to -- he gets out of the way of Frayn's original farce. And the result of his thankless toil is a movie that doesn't quite feel like a movie, and that's not quite as good as the play, but that's pretty good anyway. [20 March 1992, p.D5]

Satan is optional in The Last Exorcism. This is the rare horror film that would have been entertaining even if nothing scary happened.

Most of the liberties taken with the real history in “Pressure” only serve to enhance the drama, in a film where the built-in dramatic takes are already incalculable.

A gripping documentary about the most exacting and expensive scientific experiment ever conducted, and one that may be among the most significant.

Kung Fu Killer is like a roundhouse kick from the past, a satisfying, old-school martial arts film that has a ’90s feel to it.

As a lesbian thriller, the movie calls to mind the Wachowski’s “Bound” (1996), though “Love Lies Bleeding” is clumsier and more spontaneous, as though it were being made up on the spot. Though the spontaneity ultimately exhausts itself, it’s enjoyable most of the way.

The film is filled with lovely images (Kim studied painting in France), and ultimately becomes, against all expectations, quite moving.