But the movie doesn't quite work. In fact, despite some funny moments, "Honeymoon" has so many blown scenes and missed opportunities that it makes one suspect that Bergman may not be the best interpreter of his own material. [28 Aug 1992]

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

Part treasure hunt, part disturbia.

Since we never see Thomas, we can't care for him. And he's hardly a sympathetic "hero" in his treatment of women and his insistence that other characters honor his personal boundaries while he ignores theirs.

Best of all, the second Potter movie reunites its adult cast: Harris, Maggie Smith, Robbie Coltrane, John Cleese, Alan Rickman, Julie Walters and others -- a veritable Who's Who of British actors that single-handedly elevates the proceedings out of the kid's movie genre into something special.

As much a call to action as a documentary, it's a compelling and sobering lesson in the devastating effect of human industry on the planet. But a lesson nonetheless.

Hanson's real strength as a filmmaker is subtle suspense, and his film is even more eerie when his characters are out of the water. His setup of the situation is a small masterpiece of visual storytelling, and he sustains the psychological tension. [30 Sep 1994]

The film is lovely to look at -- so overflowing with lavish furniture, jewelry and interiors that it's almost like a visit to Paris' Musée des Arts Décoratifs. If you're a fan of such things, "Pettigrew" is worth seeing solely for its sets.

Despite picturesque episodes and nicely observed characters, the film lacks suspense.

The fact is no one has a better understanding of the corruption of ego and power, or is more qualified to encapsulate it in a defining moment of Hollywood Gothic.

By no means a good movie. Although based on a true story, the mathematical error that led to Daniel and Susan's predicament is handled with such dramatic slovenliness that the viewer is apt to be confused as to what actually happened.

Clearly not Zhang's forte, his directorial touch is neither light nor magical enough to bring off this kind of whimsy, his characters often seem contrived and unbelievable, and his movie comes off as slightly forced and naggingly unsatisfying.

The only downside is that Bier's vision of upper-middle-class America does not always seem authentic.

Cunha and Silva, both featured in 2002's similarly themed "City of God," have been playing these roles since they were 13, and the rapport between them is electrifying. Much of the sweetness of the film comes from what they bring to their roles.

Though the dialogue feels improvised and honest, the movie is less honest in creating its world.

The result is a painful and poignant film at once empathetic and critical, more soberly unnerving than exciting, but never less than compelling.

The boys and girls are so busy acting out their romantic fantasies or soulfully pining over impossible loves that, however photogenic they may be, they never seem to actually live their lives.

The film never earns the irony of the title or offers anything profound in its observations of fractured family dynamics in an atmosphere of lingering resentment, but Allen and Costner enrich and elevate the film and give the growth of their characters a hard-earned gravitas.

Unfortunately, there's no great performance here. Pitt (who looks like Leonardo Di Caprio) delivers nothing close to Brando's tour de force, and all three stars may have been chosen less for their acting ability than their willingness to disrobe for the camera.

It's an unashamedly old-fashioned and richly visualized evocation of a time when values were key, trust in your neighbor complete, and a way of life that should be simple is made unfathomably complex because of economic hardship.

Not a bad movie, per se. It's just harmless and bland and dull and predictable, and sometimes that's worse than a bad movie.

Just another low-budget effort from filmmakers who mistake cleverness for smarts.

One of the Coens' more playful projects, much lighter and significantly slighter than "No Country for Old Men" or "Fargo," but it's put together with such perfection that you can't help but be won over.

Wahlberg is effective in the role and carries the movie nicely.

Ends up being empty, anti-climactic and overlong.

The film manages to be an intriguing, grimly entertaining, strangely haunting little slice of heartland noir very much in the experimental tradition of such previous Soderbergh oddities as "Schizopolis" and "Full Frontal."

Robinson makes these characters breathe, and they bring the film to life.

The result is a cathartic hoot, relishing its own carefully doled out carnage.