The repulsive turn of events erased all my good memories of the first half, and makes the movie hard to recommend to a normal human being.

It's well-acted by a likable cast and is well-intended, but it misses: It doesn't come off as the powerful socio-environmental statement it wants to be.

A moody adventure story set in Alaska that resonates with envrionmental overtones and is filled with delicate character studies, but ends up being a terrific little genre thriller. [04 Jun 1999]

It's pure fluff, but as irresistible as cotton candy.

Directed with a Scorsese-ish flair by actor John Shea (who also plays a small part), the film is loaded with gritty atmosphere and touches of authenticity. [12 Jun 1998]

The film's deliberate pace, its constantly confusing structure, its thematic vagueness and its clumsy and often embarrassingly amateurish Garden of Eden sequences combine to make The Loss of Sexual Innocence at best, a tough sit; at worst, a self-consciously arty parable of a self-indulgent filmmaker. [30 Jun 1999]

Avoid the hype, just go enjoy the movie

Shakespeare's comical, all-too-human tale of lust, foreplay and wordplay is buried beneath bad taste.

Zeffirelli creates a lovely, perfectly composed and lyrical look at life under Mussolini's black-shirted fascist regime. But despite danger on every corner in Italy, there is a tinge of rose-colored sentiment that blurs the events yet lends to the making of an affecting dramatic period piece.

Numbingly predictable and repetitive non-stop action.

It is strangely paced (especially in the beginning), always confusing to follow, and extremely awkward as a romance.

Cronenberg is one of the cinema's true originals, and a trip to his spooky world is always a harrowing, thought-provoking experience.

Often distastefully juvenile.

Funny for 15 minutes and then fades into mean-spirited cruelty and stupidity.

Does have one saving grace, however. As Nick's long-suffering wife, Blanchett gives the movie some badly needed charisma, and its one point of sympathy -- even nobility.

It's an unenlightening film that proves youthful anarchy is just as dull as a midlife crisis, and sadly, as predictable, too.

Conceptually, the film is unique - it's a kind of nostalgia movie within a nostalgia movie. [16 Apr 1999]

Hong Kong superstar Chow Yun-Fat is so charismatic in his second Hollywood outing, The Corruptor, that he almost makes us forget that the movie itself is one of the more pretentious, muddled and incompetent action films to come along in some time. [12 Mar 1999]

The movie smacks of old-fashioned Hollywood phoniness. [22 Jan 1999]

It's a gut-wrenching emotional experience that you'll watch with tears in your eyes. [26 Mar 1999]

As good as it is in places, Without Limits fails to be a totally satisfying biography or a riveting competition drama. It never communicates a clear vision of its hero's existential mind-set or makes a clear case for his unique contribution to his sport. It's hard to even know, from the evidence in the film, whether its title is ironic. [09 Oct 1998]

Wilde (Fry, in a wonderful performance) comes off less as a sexual martyr than a man who foolishly lets his obsession for an unworthy young lover (Jude Law) lead him into big trouble that he might well have avoided. The only totally sympathetic character in the movie is Wilde's wife (Jennifer Ehle). [05 Jun 1998]

It's epic, sweeping, and genuinely engrossing for awhile, but then it stumbles. [07 Nov 1998]

The biggest failing of the film is that it's the lamest possible excuse for a whodunit. [17 Apr 1998]

Still, Kitano creates his own scary and compelling world in the film, and there's no denying his charisma as a star. Like Charles Bronson and Clint Eastwood (two action icons to whom he's often compared), the 51-year-old actor holds the screen with seemingly no effort. He's as watchable as a tired old rattlesnake. [11 Sep 1998]

His film has a kind of lyrical and poetic beauty at the same time it's remarkably free of sentimentality and didacticism, and it tells its tale with the minimalist effectiveness of a first-rate short story. [3 July 1998]

His heart may be in the right place, but 25-year-old writer-director M. Night Shyamalan can't even begin to pull all these episodes together into anything that seems remotely special, or even makes any sense. [03 Apr 1998]

Just a silly mess of a movie in which no one is trying very hard to do anything but goof off. [6 March 1998]