Huston manages to bring the unavoidable brutality of this story to the screen without seeming exploitative. And she gets good performances out of Malone, Leigh and Eldard. Glenne Headly gives a great performance as Leigh's saintly sister.

The deft, hilarious Notting Hill finds Grant's dour-droll-deprecating affliction at its most dead-on.

To enumerate exactly how Bean messes up would be to expose the silliness of this movie, and since Bean's humor is terribly silly, rather, wonderfully silly, there isn't much point in going into detail.

Succeeds better than it ought to, largely because of the personality and prodigious talents of its director and star, the Italian comedian Roberto Benigni.

In the movie, the truth will (and does) out itself. Mulder and Scully have seen the future and it's a giant leap for each of them to comprehend.

There's enough sexual manic depression to justify house calls from Dr. Laura.

A flyweight, humongously entertaining ensemble number.

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.

The standard noir trappings are here: the femme fatale, double-crossing, fatalism, broken dreams, innocence betrayed and the rest of it. But Stone pushes it all so far and so relentlessly that it becomes absurdist comedy.

From Juan Ruiz-Anchia's florid, eruptive photography to the pinpoint editing by Howard E. Smith that enhances it, everyone involved with The Corruptor understands that action is the bottom line - except Chow.

Delpy and Hawke begin to grow on you and Linklater and his actors achieve a point midway through the film when the characters are so attractive and smart and emotionally daring that you'll be happy to spend the night with them.

"The Big Sleep" and "The Maltese Falcon" echo loudly throughout.

While this movie hasn't many surprises, it does offer strong performances, especially from Gyllenhaal.

Comes on like an "After School Special'' psychodrama that's been taken off its medication.

It's too slick to be truly disturbing, but it's that slickness that keeps you on the edge of your chair.

Driver, who is padded but not fat, is an actress with self-possession to spare. Her looks defy conventional rules about modern beauty, but the directness of her gaze and the honesty of her smile make it difficult to look anywhere else when she is on screen.

This movie has a first-rate script, and director Joseph Ruben ( "True Believer," "The Stepfather" ) knew exactly what to do with it.

Because the movie is otherwise so well made and so full of sweet emotion and "good" values, I was happy to ignore the shortcomings.

Shampoo refuses to be coy. There's a deep, soulful confusion here that isn't careless with frivolity.

At once a stifling exercise in thwarting emotional dynamics and a heated invitation to engage in the film's discourse on the shortcoming of sexual politics and justice in a media-saturated land.

The movie is, more than anything else, great fun to watch. The sets and costumes are stunning. The women are beautiful. The men are dashing. What's not to like?

Never has this war been filmed with such ragged glory.

Crassly funny passages.

Her first feature, a semi-autobiographical coming-of-age comedy, is a nicely directed, well-written debut.

An exceptionally funny science-fiction comedy.

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

Yellow Submarine takes a magical mystery tour through the history of art and spends a splendiferous good time splashing in the pop art of it all.

A fascinating, sometimes profound curiosity.