Like a Les Brown tune, a really dry martini and a hug from a good buddy, Swingers makes you feel warm all over, baby.

What's on the screen may not be a letter-perfect Mansfield Park, but something true to its spirit.

While amusing and sometimes touching, Pleasantville is far from challenging.

It's one of the most beautifully unpleasant movies ever made - its reverse charge being that it is no fun at all.

Fallen Angels is proof that Wong will try anything, and the result is an eclectic mix of images and disjointed editing, sounds and rhythms that are at times as powerful as any piece of filmmaking likely to be seen all year. It can also, every once in awhile, be tedious and trying.

Beautiful, wandering little love story that wants to break your heart and probably will.

Save for some sentimental scenes, it's a powerful film, with a powerful performance by Alexander. [04 Nov 1983, p.E]

Lee seems to think that all his major characters are basically good people who deserve another chance, and so for the sake of an inappropriate happy ending, everyone important gets one.

Though short on subtlety, A Walk on the Moon does offer the consolation of some decent performances.

Szabo doesn't bring the film to its senses until just past the halfway point.

The vibe is acoustic-cafe: cute, catchy and ironic given its wimpy point of view.

Hamlet finds in Hawke's greatish performance a Great Dane for this, or any other, modern moment.

Even those unfamiliar with the entire "Star Trek" phenomenon (it's now been 30 years since the original TV show sprang from the fertile mind of creator Gene Roddenberry) will find this a clever action movie, with a well-written screenplay and tight direction of a fine cast.

Turns into something like a screwball farce, an intimate, self-aware one.

What makes Shadow Boxers special is how Bankowsky restores the woman's touch that always seems intentionally excised from coverage of the sport without comprising their participation in the sport.

An exceptionally funny science-fiction comedy.

Woody Allen's questionable toe-tapping faux-documentary.

Voight's Wright is one of many examples of how Singleton and Poirier succeed in suggesting the ambivalence and shadings that make movie characters believable.

Because Wilde was a dandy and a wit, as well as a clever writer of daring plays, any actor who plays him must have charm. Fry has it in abundance.

There's a sense of genuineness throughout Girlfight.

The delight of the movie is Keitel, who finally gets to play someone who doesn't look like he's about to mug you.

Unfortunately, the movie never really goes anywhere. It's all pleasant enough to watch, but you never feel that Danny and Arthur's craziness (eventually Danny is committed), Sid's stoicism, Selma's selflessness and Steven's despair coalesce to mean anything significant or illuminating.

Even if the movie is not a work of comic - or philosophical - genius, its existence does foretell of tolerance gaining a foothold in a largely intolerant world.

A demanding, rewarding (if overlong) and - yes - a personally felt experience.

Sure, it's the same trite teenage fantasy it was 20 years ago when it was first released, but somehow now the energy seems infectiously giddier, the songs zingier, the camp higher.

Underscores everything that was utterly wrong-headed about the original material.

Fans likely to rave about Living.

The movie's afraid of [Stiles], turning Kat from riot grrrrl to Solid Gold dancer in the time it takes to drop one Notorious B.I.G. song at that house party - which is why it's the Spam of processed teen movies.