Never comes alive.

Sticks in the mind and simply won't go away.

Almost 30 years later, it's just as primal.

Scream 3 also has wit and intelligence, but at their core the Scream movies are still slasher films and this one is no exception.

In this film, the clothes and the city are characters as vital as the four leads, and they don't disappoint. But don't expect any trend-setting in the manner of the series. This is a runway that begins and ends with the movie.

Romero's satire is largely replaced by a sardonic gallows humor (the zombie-shooting contest is as funny as it is grotesque), but otherwise it's a bloody entertaining zombie apocalypse.

The film is stylish, the compromising elements that usually junk up a Hollywood "date movie" are nowhere to be seen, the ensemble of supporting actors is strong and, despite a certain woodenness, Hartnett is appealing and mostly very believable.

It's done with an agreeable confidence and flair, the actors all fit comfortably in their roles and the effects are fun.

The film attempts to put Zizek's philosophy into practical, accessible terms. Accessible, of course, being a relative term.

Veteran British director Eric Till otherwise does a credible job of sweeping us through this huge life, and his eye for detail combines with the Oscar-worthy production design and a succession of striking Eastern European locations to create a rich visual tapestry of the Middle Ages.

In its best moments, the film works as both an exciting and formula-breaking action-adventure and as an enjoyably sappy tearjerker.

A special film, one that refuses to package a person's life into a comfortably familiar genre.

Everyone who has ever enjoyed the music that came out of Detroit's Motown Records in the 1960s should see Standing in the Shadows of Motown.

If Arlyck's own life feels unworthy of the attention, Sean's illuminating, unconventional and contemporary story makes up for it.

The film perpetuates a self-congratulatory vision of the record's worth, when an opposing point of view would have provided a more balanced perspective.

A rarity: A fun, entertaining 'G' movie.

What is ultimately so special about this film is its handling of the relationship between Lennon and wife, Yoko Ono.

The strength of Super Size Me lies primarily in Spurlock's character -- he comes across as an affable guy with a goofy sense of humor.

The live camel birth (shown in all of its excruciating beauty) is enthralling, and the cultural details, however staged, provide a vivid window into a world that is fast disappearing.

Sayles has also gathered uniformly strong performances from his ensemble cast of mostly Irish actors; he creates a rural Irish milieu with a remarkable authenticity (remarkable since he is not Irish); and he keeps the mood nicely balanced on a fine line between whimsical children's fable and realistic domestic drama. [17 Feb 1995]

The colorful cultural history lesson in an idiosyncratic key is entertaining and informative, if a little indulgent in its adoration of Roth and his counter-car culture.

Rather incredibly ends up being a kind of inspirational upper.

Good-natured and fun, the Austin Powers silliness of the era shines through, and Coppola family art director Dean Tavoularis ("Apocalypse Now," "The Godfather" trilogy) makes the film -- and its kitschy film-within-the-film -- look consistently terrific.

Garcia's dialogue is wonderfully crafted, short, sharp and resonant, and her elegant direction is delicate and handsome.

Behind the dry humor is a sense of hollowness in the two men who obliviously fall back into old patterns of reckless, loveless sex without missing a beat.

Hard Candy is not perfect, but it is a provocative piece of filmmaking with a dark and daring heart that makes it worth seeing.

White Palace doesn't entirely work on this level (and is certainly no "Graduate"), but it carries a fascinating subtext. It dramatizes rejection of '80s values by a member of the '90s generation. Like several movies already released this year, it is a hopeful statement that the new decade will be - if not a return to the '60s - at least a clean break with the recent, shallow past. [19 Oct 1990]

An almost documentary reality and voyeuristic appeal.