Spader, the actor who rose to prominence in sex, lies and videotape, is excellent at delineating the erosion of Michael's conventionally celestial ethics, while Lowe, the actor who rose to prominence in the home version of sex, lies and videotape, is equally good at delineating the solidity of Alex's unconventionally sulphuric sadism. Sadistic or not, Alex knows how to give good time. So does Bad Influence. [12 Mar 1990]

Ledger proves what we've suspected all along -- this is his picture, and he steals it brilliantly.

What's so fresh about Mutual Appreciation is how acutely it represents the social rituals of today's post-collegiate types.

It's a nifty caper flick that also ponders the aesthetic nature of deception -- in other words, a solid work of craft that doubles as a little meditation on art.

The results are highly affecting – so much so, that viewers who suffer from motion sickness may find the film hard to watch. If the approach feels empathetic rather than pretentious, it’s thanks to a crucial anchor: Willem Dafoe’s subtle and humble performance conjures a pitiable van Gogh, shredded by doubt and estranged from people, yet urgently aware of his painterly vision.

Though only 85 minutes, the film captures an entire, bewilderingly extended family and way of life inside a sturdy frame.

Murphy’s blindingly bright, consistently energetic, never-ever-ever-still approach works more often than it doesn’t. Think of Murphy’s own Glee but with approximately 30 times the budget and star power.

There is a mesmerizing quality to the movie.

With the framing of doorways and windows, walk and talks and medium shots that let the streetscapes seep in, Park’s thoughtful direction helps to evoke the panels and pacing of Tomine’s work.

Unlike the book, the movie slides into idealistic Hollywood convenience (the state-run labour camps, for example, are paradise compared to the privately owned versions), but the story is driven by gritty realism and remarkable acting. [31 July 2009, p.R20]

As a first-time director, Lewis shows a impressive visual sense -- abandoned factories take on an eerie gorgeousness through his lens.

This is a world out of time and, despite the trappings of flinty realism, the film too unfolds like an elemental myth from the stormy past – a Greek tragedy driven by dark fates and struggling toward a catharsis.

That may be your lump of coal, but it seems a precious gift to me.

The particularly imaginative handling of the shifts between the human and the more ethereal animal incarnations represent the film’s most rewarding aspect.

The exiled Tibetans who are interviewed display a lack of bitterness, a sympathy for their enemies and hope for the future that is inspiring.

What makes Crude worthy of the overused term “epic” is the way the case symbolizes a host of contemporary issues: the iron-fistedness of multinational corporations; environmental despoliation; the disappearance of indigenous cultures; and the power of celebrity and the media to influence justice.

Fuqua is reliable in his continued ability to craft tense and measured films for broad audiences looking for complicated tales of morality.

Morlando's approach, influenced by interviews with the real Boyd in his old age, is cerebral and melancholic. The tone is more foreboding than suspenseful.

An acquired taste that you may not acquire. I did, but it took me a while.

Borat at its best is pure satiric genius, the Swiftian kind that has you busting a gut with laughter even while checking your conscience for implicating flaws.

A quick and clever thriller as nasty as a piece of shrapnel snapping the sound barrier, 48 Hrs. is as violent as it is funny. It is very funny. [03 Dec 1982]

It's undemanding good fun, even when the script turns sentimental. [14 Dec 1990]

Eventually, Toy Story 3 finds its way back to that theme of the power of childhood play. There are a few worrisome moments en route, though, when not only the characters but the filmmakers seem to have lost their way.

After a solid start and a strong buildup through two acts, the movie fumbles the resolution. Ethical lines that were convincingly wavy suddenly straighten out, too quickly and too neatly.

While the film is tonally incongruous and confusing at points, Ivan and Gerardo’s powerful love story has such high stakes, you can’t help but swoon.

Not surprisingly, it's a cinematic mash note, but apparently a deserved one.

There's definite mastery here, but it's hardly a masterpiece.

The movie is unexpectedly disciplined and enjoyable.