A melodrama split, then cross-connecting, into three separate parts, Drunken Birds is a startling thing that just narrowly avoids whiffing the landing.

The result is a war picture that, trying to pass off fidelity to the book as objectivity, sacrifices any voice of its own, and ends up not knowing what to think.

Jerzy Kosinski's witty but slim novel was based on a witty but thin conceit, and Hal Ashby's film of that novel is equally witty, equally thin. [09 Feb 1980]

At once cluttered and cavernous, hysterical and static, romantic and cynical, The Zero Theorem works most effectively moment by moment and in the details.

Americans is unimpeachable fun. Peter Segal doesn't aim high in this lampoon of U.S. presidents, but hits the target. [20 Dec 1996, p.C8]

As a movie, Blue Chips is more journeyman than star, but, once in a while, it hops off the bench and shows a surprising flash of talent.[22 Feb 1994]

Travolta's star presence is confirmed in Grease, a weak musical comedy vehicle . The strength of Travolta's performance isn't from dialogue but shots of Travolta reacting, suddenly becoming macho when he realizes the gang is watching him talk to his girlfriend or smothering a giggle after accidentally elbowing Olivia Newton-John in the breast. These moments alone make Grease worthwhile. [17 Jun 1978, p.P31]

At his best, Spike Lee is too brave to be subtle.

The film is dialogue-heavy, easily imaginable as a two-hander for the stage, but watching the ice-thawing process between the two enemies is less compelling on screen.

Avrich was probably wise to avoid lengthy digressions into Middle East politics, but if a great film takes the particular and makes it universal, this is not a great film. Given the war that has followed, this individual story must remain only that, circumscribed by the larger context that perforce it can barely acknowledge.

What is missing from Brothers of the Head is an equally sturdy connection between form and content.

Despite an impressive array of acting talent, nothing quite rings true -- all those sharp pieces fit beautifully together without adding up to much. [22 Jan 1999, p.D6]

1492 is a pretty good movie, but it isn't as good as you might like. Part of the problem is Roselyne Bosch's script. The screenwriter (and co-producer) seems so determined to make a hero of Columbus that she can't resist giving him every virtue and virtuous motive available, and placing him in direct opposition to every bad guy or bad idea around, including decadent aristocrats, ignorant priests, and the Church and the Inquisition in general. [12 Oct 1992]

If this review had to be in pantomime, it would be me head-banging and busting out some gnarly air guitar for an hour straight – and loving every minute of it. That’s how much fun this concert film is. But be warned: If you’ve never rocked-out to a Metallica song, or don’t even know what throwing the horns is, this movie is not for you.

Slam is a film about rap poetry, romance and gangster culture that blends melodrama, visceral excitement -- and a lot of preaching. [23 Oct 1998, p.D3]

When Anita Hill took her seat before an all-white Senate committee in 1991, the optics said nearly as much about the systemic dynamics of race, gender and power in American politics as any of the specifics of the case at hand.

As manipulative as a charmer with a snake, and twice as much fun... Shameless, yes, but open your eyes, close your mind, sit back and enjoy - 'cause it feels so good.

It makes for intriguing and often gripping viewing, but delivers a more confounding experience than is necessary. Still, the director knows how to break those bones real good.

When the larger question cannot be answered, the lesser one -- "What would you have done?" -- seems beside the point.

The most unexpected thing about the Lebanese film Caramel is its predictability.

Keating’s flattery is sincere, and so is his wish to stylishly freak you silly.

So long as you grit your teeth and keep your eyes on the screen, it’s an enjoyable, if almost academic, exercise in bad taste.

Unfortunately, the film also wants to show us what happens to veterans, both human and canine, when they return home and here it loses its way. The stateside scenes meander so much, you’ll find yourself in the unlikely position of wishing we were back in Iraq.

The film would go nowhere without Hogan. He's a charismatic chap with a pleasantly minimalist approach to humor. [27 Sept 1986, p.E6]

One distraction is that everything feels smothered in an extra helping of déjà vu sauce: another movie featuring a middle-aged misanthrope with a dewy younger woman; another film with stage magic as a theme.

Mixes broad slapstick and off-hand one-liners in a sometimes surprisingly funny mixture.

Not exactly a movie in the usual sense, not exactly a ride, Journey is more of a virtual theme-park simulation and possibly a milestone of immersive entertainment.

Gold is important because Gold is a great writer. No further argument necessary.