An original, well-crafted plea that uses restraint instead of titillation to make a cautionary tale that aches with pathos and power.

Too short to tell the whole story. It is, however, a fast-paced, highly enjoyable and provocative introduction.

The film has a gorgeous, Grant Wood-ish visual style - it was photographed by Freddie Francis and designed by the late, great multi-Oscar winner Gene Callahan (to whom the film is dedicated) - and there are a smattering of effective scenes and ingratiating performances to go with it. [04 Oct 1991]

What it lacks in melodramatic punch it makes up for in unexpected shadings in the characters, predator and victim alike.

This movie seems even rougher around the edges than much of his past work. Still, it's hard to resist.

All told, Cars is a knockout.

She's foul-mouthed, trashy, a legal pit bull ... and she's wonderful.

In today's cynical cinematic climate, there's something beautiful in Miller's simple poetic justice.

Movie is so hip-swingingly infectious and leaves us with such a high that it's hard not to suspect that -- handled right -- it could well become the fall version of "My Big Fat Greek Wedding."

More of a leisurely paced ensemble character-study than the slam-bang traditional action gut-buster that its trailer seems to promise.

Ppaque and not hugely satisfying.

Dedicates itself to the beauty and thrill of bodies and motion and in doing so upstages Altman's cinematic conduit. The medium ultimately surpasses its messenger.

An extraordinary piece of biography.

Craig's got the stuff but the ending of this cake is soggy for its protagonist and audience.

The film is annoyingly sketchy on Thompson's early years and education, and it spends so much time on his coverage of the 1972 presidential election and his own race for sheriff of Aspen, Colo., that major aspects of his career get short shrift or go unmentioned.

It's rowdy, often tasteless and very much in the buddy-action vein of the scripts that made him famous, but in a much more comic spirit.

Ceylan has an unerring gift for camera placement, and his slow, measured scenes can be as hypnotic as they are lovely -- at times, too much so, with the characters constrained by his poetic perfection.

One terrific comedy that doesn't let up for an instant... a total hoot.

It's a richly textured, leisurely paced, visually impressionistic epic of the American past that fairly hypnotizes the viewer with its tapestry of sights, sounds and colors.

Judd Apatow brings no cleverness or wit to his one-joke situation, and he can't give it the kernel of credibility that even a low comedy needs to sustain itself for a feature length.

Though he's foggy on the specifics, Angelopoulos makes the tides of history felt through each painterly frame.

In its best moments, The Cats of Mirikitani captures both the tragedy and transcendence of his life, from the Sacramento-born, Hiroshima-raised youth who returned to the States in 1937 rather than join the Japanese Imperial Army, to the proudly self-sufficient man who struggled through New York's fierce winters until gaining recognition both as an artist and a human being.

Ripe with characters and events reflecting the psychic travails of today's young adults.

Sometimes so intimate it's embarrassing, and the messiness at falling in love at any age is disquieting.

The sharpest journalism thriller I've seen in years: an absolutely riveting drama that doesn't glorify its subject in the slightest and shrewdly says a lot of very sad things about the state of modern journalism.

Zhang is a master of detail and spectacle. There is also plenty of comedy, particularly in the scenes with linguistically challenged translators.

It's impossible to praise too highly the verve, skill and authenticity with which Spielberg brings off his alien invasion.

Uses sports as metaphor for life with rare twist.