There is such a joy of play in the film that it's easy to overlook the overdone performances and the lazy script shortcuts.

If ever a film seemed poised to take over the spot occupied by the surprise indie hit, "My Big Fat Greek Wedding," it's Real Women Have Curves.

When a director has two actors as iconic and skillful as Robert Duvall and Michael Caine for his leads, all he has to do is point the camera in their direction and it's hard to go wrong.

Casts a dreamy romantic spell that lingers pleasantly in the mind for a long time after experiencing it.

DiCaprio could hardly be better. He brings this outrageous character and his demons to life with skill, sympathy and a symphony of small, telling touches.

It's an entertaining and mostly intelligent movie that is grungy enough to appeal to today's rock fans and nostalgic enough to appeal to the aging baby-boomer fans of the Fab Four. [22 Apr 1994]

There's a satisfying craftsmanship to every sequence, the direction is stylish without being show-offy, the plot mechanics are convincing, the pace is breakneck and compelling, and the film does something unique and interesting with its Hitchcockian concept.

It fulfills a lot of the criteria for a successful oater: spectacular scenery, an evocative frontier atmosphere, an ensemble of enjoyably tight-lipped performances, and plenty of stylish violence.

Eloquent and informative.

It's really Harris' movie, and he brings to it just the right blend of engaging affability, gruff strength of character and transcendent nobility of spirit to make it a genuinely enriching experience.

A funny, freaky, fiendishly good flick that might just find a following beyond the standard cadre of horror fanatics.

Throughout the film, music is used to define character and place. Two metal bands, Moral Decay and South Central Riot Squad, dominate the soundtrack whenever the gang is on the move.

As clumsy as the movie is in many ways, it strings together maybe a dozen situations in which we are absolutely, excruciatingly, on the edge of our seats -- which is to say that the new Poseidon essentially does its job.

In a summer of comic book super-operas dense with psychological torment and sprawling well over two hours, the unpretentious efficiency of Terminator 3: Rise of the Machines is refreshing.

In typical Fellini fashion, there is much frantic activity - no less than three films-within-the-film, several surrealist sequences that come out of nowhere, and many scenes that deliberately make reference to, and comment upon, the director's life and past films. [17 Jun 1993]

It's Waters' way of saying: It's only a movie.

"Network" it's not. Weitz doesn't have the killer instinct for merciless satire but he knows how to stage a gag and deliver a punchline.

Re-creates the era convincingly, and, as usual, Penn is mesmerizing: a consummate movie actor at the peak of his game.

The film dwells more on the sensationalistic aspects than the sport itself but it's impossible to deny the tawdry entertainment value in this compelling film tabloid.

A furiously choreographed martial-arts spectacle wrapped in a fumbling narrative.

There are hints of madness in all the characters, and it gets creepier and more surreal as it goes along until it finally comes to a showstopping climax that took me completely by surprise and made the hairs on the back of my neck stand up straight.

A solid piece of storytelling that doesn't pander, skips the usual POW stereotypes and allows the film to work reasonably well as an epic of war, a survival story, a prison thriller, a murder mystery and a courtroom drama.

A highly entertaining film that still packs much of the punch and the quirkiness of Willeford's novel.

Fascinating and mostly sympathetic.

Plays in spots something like a stage play smartly brought to screen.

The cast, collectively a successful example of the lovable-loser protagonist, shows deft comic timing, particularly Chandrasekhar, who wrings laughs just by his reaction to the locals' racist remarks.

Captures the infantile fantasies of rock 'n' roll's self-made messiahs with an honesty that is rare in today's MTV world of promotional entertainment.

For all the misery and emotional mess of Snow Angels, Green finds resilience and hope in the kids and even in some of the grown-ups.