While the significance of the imagery, including the slow disintegration of an immense piece of sculpted petroleum, is elusive, the strangeness of Barney's visual sense never fails to stimulate the senses.

A thoughtful and often evocative drama of identity and assimilation, but she leaves Nazneen so cocooned in her protective shell of disconnection that we can't connect emotionally.

As a revenge thriller, the movie is serviceable, but it doesn't really deliver the delicious guilty pleasure of the better film versions.

Has the modesty of a savvy, smart drive-in movie with Hollywood studio polish and a movie buff's loving care.

It's fun in places, and moves like a bullet, but it's also clumsy and mostly quite routine - and seems a particular letdown considering it was made with a blank check from 20th Century-Fox and the services of John Travolta at the peak of his career. [9 Feb 1996, p.25]

Despite a few weak points, the most heavily dramatic Sandler vehicle to date is a striking, genuinely touching, meticulously well-acted friendship parable, and a big audience pleaser.

There's not a lot of story here and the dialogue lacks the snap one usually gets in New York stories of affluent young adults, but the characters have an authenticity.

Pfeiffer devours every one of her scenes with a ferocious performance.

The picture juggles three story threads. It's an excellent character study, a surprisingly effective father-daughter drama and a caper movie littered with surprises.

Despite the scenic appeal of Mexico's Baja Peninsula, the film may prove too nerve-racking for casual viewers. It is a racing movie for the inside track.

An engaging and intelligent comedy that manages to pay tribute to the conventions of its genre and still be very much its own thing. [02 Oct 1992]

Enormously cute, but it doesn't allow us to ever completely suspend our disbelief.

It assumes considerable knowledge of his life and times. But, with even a little of the familiarity it demands, the movie is something special.

Gorgeous re-creation of another time.

After a somewhat shaky start, the film gradually settles in to become another extraordinarily powerful and explosively acted drama that deftly probes the moral responsibility of an artist in a totalitarian society.

Hayek throws herself into this dream Hispanic role with a teeth-clenching gusto. She strikes a potent chemistry with Molina and she gradually makes us believe she is Kahlo.

The total effect is mesmerizing, an eye-opening tour of modern Beijing culture in a journey of rebellion, retreat into oblivion and return.

This restrained drama of lifelong friends drifting in separate directions is a quietly rich and resonant portrait of disconnection.

Life on the freeway is hell, but what comes next for these workers might be worse.

This is the most impressive directing debut by a "name" British actor in a long, long time.

The film shoehorns in every memorable character from the original film.

Cage trots out all of this character's flaws in a form so raw and true you can't help but cringe in your seat as he careens from one self-inflicted interpersonal failure to another.

A tough, taut, mostly well-executed morality parable and thriller that explores some of the bitter ironies of this strange religious vendetta in which America unwittingly finds itself.

A summer movie that knows it's a summer movie. You don't go to this film for the story, but for the scenery: Bikini-clad girls riding waves, surf photography as beautiful as it is breathtaking, sun, surf, sand, even a little PG-13 romance.

An absorbing slice of the New China and a fascinating duel between two magnificently stubborn antagonists.

A diversion so soggy that even the few combustible comic disasters fail to light a flame under the lukewarm laughs.

The cast is as likable as it is improbable (especially Nivola, who all but steals the movie as the charmingly decadent rocker).

Like all Jackie Chan films, this one works best as a rousing action film. From beginning to end, Rumble is filled with imaginative and breathtaking stunts (all done by Chan sans stuntman) and a succession of epic fight scenes that are hypnotic, exhilarating, masterfully choreographed and great fun. [23 Feb 1996, p.3]