Arguably, Lost in Translation is the American answer to Wong Kar-wai's masterpiece, "In the Mood for Love," though less about history, more about infatuation.

Though Revolutionary Road is a less stringent work than Yates's book, it also feels like a more tolerant and humane one.

The film is too slapdash and self-serving to take seriously (it’s release is timed to the precede thesame-named album’s release next month), but it’s a casually entertaining trip, aimed at fans of the charismatic rapper and his recreational substance of choice.

One Night In Miami is an accomplishment relative to the standards of its industry, but for filmgoers seeking new and exciting work that exists outside of that orbit, King’s film is one that you’ve seen before.

The colourful film of course is allegorical: Peace is tough and tedious; war is an easy solution. And while the kids’ enthusiasm for battle wanes, pint-sized audiences will likely remain engaged.

Rising above its flaws, Internal Affairs converts a genre flick into a generic study, an examination of the mean streets that even the healthiest mind travels, those dark alleys where our force is sometimes overworked and always understaffed, the places where we, too, must police ourselves. [13 Jan 1990]

Two parts pain, one part pleasure, a masochist's life with cystic fibrosis results in a weirdly tender documentary. [14 Nov 1997, p.D4]

It doesn’t take a lot of wit or imagination to use Richard Nixon as a bad guy, but it’s still satisfying to watch a climatic showdown between two supervillains – one brought back from out of the past and the other from off the comic-book page – and wait to see who blinks first. Seems like we’ll always have Nixon to kick around, after all.

Physically ripped, constantly engaged and possessing a quite possibly insane desire to do each and every one of his own stunts, Cruise is the platonic ideal of an action star. And thank god for that.

Superintelligence arrives this week as a comedy with actual charm, wit and, yes, laughs.

The first comedy about that war, Good Morning, Vietnam manages to be uproariously funny without ignoring or trivializing the tragedy. It's awkwardly contrived here and there, especially during its recon patrols into Vietnamese life, but for the most part Mitch Markowitz's skeletal script is smart enough to dig in, hunker down and stay out of Robin Williams' line of fire. [22 Dec 1987]

Director Amma Asante (Belle) is carving a niche for herself, making gorgeous-looking cinema from untold histories. Her best asset here is Oyelowo.

The film walks the fine line between exploitation and empathy to cast a chilly, memorable spell.

The phrase in the title "wanted and desired" is offered by a producer friend of Polanski's who describes him as "wanted" in the United States, but "desired" in Europe, where sexual behaviour is treated more honestly and artists' dark sides are celebrated.

Not surprisingly, prison must be the perfect incubator of sadness and anger, because every one of the “performances” is astonishingly vivid. At the extremes of the emotional spectrum, at least, these guys are brilliant.

Young and bold and bristling with talent, Argentine director Lucrecia Martel has continued right where she left off in her feature debut.

Vegans and animal lovers might have a tough time stomaching parts of the film.

At first startling, even disengaging, that strange style eventually dovetails with the awful substance.

As a captivating bauble, a tribute to a romantic legend, Don Juan DeMarco shines. But as an exercise in performing artistry, a gift from a living legend and an heir apparent, it positively glitters.

Climate of the Hunter is less concerned with story than mood. A sensuous, trippy mood that successfully seduces – at least for those who can easily settle into these kinds of campy experiments. (Guilty!)

Argo is a movie of many parts, the sum of which can probably be best described as enjoyable Hollywood hokum.

Kindergarten Cop is fast, loud and obvious, but there are unexpectedly delicate touches. [21 Dec 1990, p.C10]

Like the comic stars of the silent era, Mr. Bean's character transcends language barriers.

The resulting tale is a wicked, gory and even occasionally funny take on George A. Romero.

The movie's title proves to be not entirely a case of bait-and-switch. The film really is a homage to vintage Hollywood comedy.

In a performance that should earn him the Oscar nomination he has long deserved, Penn uncovers every slimy instinct that motivated Lee, but he never loses the audience's sympathy. Despite Hutton and Schlesinger, The Falcon and the Snowman does tell a terrific story, and the tale is sufficient to hold interest right up to the mishandled ending. [25 Jan 1985]

The embodiment of the very message it so modestly conveys -- it's the accomplished little guy we fervently root for.

The preposterousness of this plot marks Fading Gigolo as a vanity project, but it’s hard to take Turturro too much to task when he hits so many other grace notes in between blowing his own horn.