Scorsese's style, fierce as it is, doesn't accomplish what he clearly expected of it. Often, in many arts, fresh treatment can redeem familiar subjects, but it doesn't happen here. [Oct 22, 1990]

Jordan would like us to believe that the three films are stages in a metamorphosis, but the stitching shows… Part Two, explored and expanded, might have made a good film, especially since Davidson gives a quiet, knowledgeable, perfectly poised performance. [14 Dec 1992]

What helps Pfeiffer most is the fact that though she is exceptionally pretty, she patently doesn't rely on her prettiness: she wants to act. But, with her Ellen, though we know what she means from moment to moment, we simply don't feel it... Winona Ryder is disastrously miscast. [18 Oct 1993, p.30]

Capra is an old-time movie craftsman, the master of every trick in the bag, and in many ways he is more at home with the medium than any other Hollywood director. But all of his details give the impression of contrived effect...To make his points he always takes an easy, simple-minded path that doesn’t give much credit to the intelligence of the audience.

The film is repetitious. Herzog has varied the original footage with some interviews that he conducted with a former Treadwell girlfriend and some other friends and observers. Still, an hour of it would have been more effective than the present feature length.

The English Patient is excitingly promising. Then the screenplay goes rotten, like an overripe melon. [Dec. 9, 1996]

If we can watch this picture at all, it is because this universally admired person (Eastwood) is in it.

To Van Sant's credit, let's note that he has evoked more lightness and variety from Kidman, more scrimshaw gesture and inflection than I thought she could muster. [23 Oct 1995]

Is Scorsese desperate? This screenplay has the scent of it, as if he is scraping for material to feed his basic filmic interests. But the risk in this case--not evaded--was that his need led him close to painful strain. I can't remember another Scorsese moment as shockingly banal as the finishing touch here.

Brazil doesn't add up to much, not only because its cautionary tales are familiar, but because it has no real point of view, nothing urgent under its facile symbols. And the story winds on and on looking for a finish. Three or four times I reached for my coat prematurely. [17 Feb 1986, p.26]

Even with its latter-day (modified) frankness, Far From Heaven is only thin glamour that lacks a tacit wry base. Thus diminished, it can be tagged with a term that Susan Sontag once defined so well that she put it out of circulation: camp.

Throughout we keep waiting for the real Almodóvar film, and it never arrives.

The film might be called a moral travelogue. Instead of showing us mosques and tourist spots in beguiling old Istanbul, it follows a couple of ordinary Turkish men in drab surroundings and affirms that they breathe the same doubt-laden air as much of the rest of the world.

Little more than the distended first half of a twisty, dark "Law & Order" script.

A new voyeurism has arisen in the last two decades or so, and Trainspotting caters to it--an addiction to addiction-watching. [August 19, 1996]

Two cheery notes: Nicolas Cage, as the erring brother, shows surprising signs of life, and Cher, as the erring fiancee, confounds those who swore she was a remote-control robot. [8 Feb 1988]

The film's title ought to be When We Were King's Pawns. Don King maximized the media circus aspects from the start, as the razzle-dazzle directing of Leon Gast, helped in the editing by Taylor Hackford and others, makes electrically clear.

Bonham Carter is like an undergraduate in a university production who seems rather good considering that her performance is only an intelligent diversion while she prepares herself for a career in another field. [24 Mar 1986]

The film's trouble is in what happens in each section: not enough. Once the atmosphere of each period is established, the story is too weak to interest--and the characterizations are too thin to compensate.

This sort of investigation has been done so masterfully by Sam Peckinpah in "The Wild Bunch" and Oliver Stone in "Natural Born Killers" that, in a sternly utilitarian sense, we don't need Cronenberg. He is not, as far as I have seen, in their class. He proves it again in A History of Violence.

Still, it never quite realizes the oneiric quality because, paradoxically, of its best achievement--the performances of the two boys. They are vital, insistent. Their beings contradict the dreaminess and make us ask the questions mentioned above.

To read a Carver collection is to walk through a gallery of beautifully formed objects. To blend his stories into "soup," no matter how smartly, to see them "as just one story," is to vandalize good art, to rationalize filmic opportunism as aesthetic principle. [25 Oct 1993]

Though there is plenty of action, particularly at the start and at the end with two blasting sea battles, much of the film is not sufficiently interesting.

The net effect of the incessant dazzle is depressing.

Leaves the viewer with the sense of a writing-directing talent concocting complexities. Everything he touches is well-turned, but he now feels compelled to put the pieces together in something other than a lucid design.

Yet the McCarthy/Murrow conflict in the picture is not pressing enough--these days, anyway--to justify the considerable skill expended on it.

The five episodes in Broken Flowers are good enough to make us expect that the picture has a theme, but it hasn't.

The script is a tidy work of carpentry, in several time planes and with a tart finish. Tense moments abound, fights and shootings and near-drownings, but they seem items drawn from casework files. [5 Aug 1996, p.26]

Its very existence as a film sets up expectations that wouldn't exist within a book -- another reason I'd bet that there would be more pleasure in reading the screenplay. I can't remember ever thinking that previously about a film. (1998 May 23, p. 26)

It is easy to point out gaps in Noujaim's account. (What, for instance, about the rebuilding that tries to go forward in Iraq?) But the prime importance of this film, I'd say, is that it is not an eye-opener. Of course this change in reporting, this bilateralism, has occurred so far only in wars where the U.S. was the overwhelming superior in force.

But it is precisely with these contrapuntal strands of huge, timeless nature, of the complexity of every human mind, that Malick bloats his film into banality. [Jan. 25, 1999]

Two for the Road is a good try; it's often pretty and sometimes funny; one wishes it well, one wishes it were better.

Midnight Run is two films. One is a succession of bright, razor-edge, nutty dialogues between two men. The other is the plot that keeps them together, which is stale and full of boring violent-comic action. [29 Aug 1988]

The story is multiplex and unclear.

And as film, Apollo 13 is dull… Partly it's because there are no characters, no room for any substantive character development… Apollo 13 is staffed with human puppets. [31 July 1995]

This same film, shot for shot, line for line, could have been much more solid and engrossing, much farther up the Parnassian slope, with a better actor as Hughes.

The picture is so suavely made that we don't feel disappointed until it is over: what chiefly holds us is the quality of the acting.

Formally, Boyz is just one more old-time bad-neighborhood picture. Instead of, say, Manhattan's Lower East Side in Prohibition days, it's an LA lower-middle-class black neighborhood afflicted with drugs. And Singleton's control of his picture's flow is much less firm than was the other directors'. [2 Sept 1991]

The Hughes brothers' directing compensates a good bit for the story's predictability. [5 July 1993, p.26]

Maggie Cheung, who was in Assayas's Irma Vep, plays Emily with a semi-detached feeling--observing the role as much as portraying it. The chief pleasure in the picture is Nick Nolte's performance as the boy's paternal grandfather.

It is kept listenable--and watchable--because Bourdieu uses his knowledge of these people with winning ease. The story's conclusion verges on the grim, and it underscores Bourdieu's presumable theme: student life and talk are the last real vacations in many lives.

Only the onstage performing has moments of lift, particularly Keillor's diabolically homespun monologues and the cowboys with their risqué jokes that are reminders of such outhouse reading as Captain Billy's Whiz Bang.

Well-photographed and adequately directed and acted, Iron Island is (painless) propaganda, informing us about domestic peace and goodwill. And this film, too, leaves us with a question: why does the currently aggressive Iran want the world, especially our chunk of it, to see what it is "really" like?

I cannot remember a moment in this new film that compares, simply in directorial originality, to the work in "Schindler's List."

The disaster is John Malkovich in the key role of Valmont... From the moment he steps out of a carriage at the start, he walks and gestures like Malkovich. He has done nothing to bring himself to the part, not even bothering to learn how to pronounce "mademoiselle." ("Madam-uhzell," says M.) [2 Jan 1989, p.24]

Lynn Redgrave is nearly incomprehensible as the housekeeper with some sort of housekeeperly accent. [Dec. 14, 1998]

Despite the pictorial riches, despite the firm performances by Ray Winstone as the captain and Guy Pearce as Charlie Burns, despite the miraculous John Hurt in an eccentric role that was put in just for spice, The Proposition is hollow.

Clumsy and irritating.

Malick continues to float along the edge of the American film world as an unusually intelligent personage who occasionally delivers the fruit of his meditations. But his role as adjunct philosophe is better than the films he eventually gives us.

What is outstandingly incredible are the high-flown pronouncements, including literary judgments, given suddenly to Costner. They make him sound like a dummy for Shelton the ventriloquist. [1 Aug 1988]

The war is not scanted: the devastation and butchery are there. But the screenplay by Frank Cottell Boyce, based on a non-fiction account by Michael Nicholson, is thin, sentimental. [29Dec1997 Pg. 28]

He has had a notable career, and I wish there had been more specifics about it in the film.

The flaw that separates Scorsese's film into its components is its lack of a crystallized theme.

Haneke leaves the future of the human race ambiguous. Or would have left it so if his allegory had worked. But the film is such a pat construction, so dingily shot in heavy light, so dependent on our cooperation without earning it, that we are more aware of the exercise than affected by it

None of the film is exciting, and, despite the preeningly smooth flow of the story, little of it is interesting.

The director, Michael Mann, remembers the best of film noir pretty well, but it doesn't protect his film against its ultimate Movieland silliness.

May Ozon and Rampling do more at the level of this film's first hour. Or maybe they could amputate the last part of Swimming Pool and finish the film as it deserves.

The picture is too long. It repeats and repeats. Thirty minutes, instead of its eighty-six, could have told us all we need to know about the danger and tedium of these lives.

The gem in this rag pile is Cameron Diaz as Mary: quick, witty, pretty, warm. There is something about Mary. [17 Aug 1998]

Eastwood, who directed the picture adequately, is inadequate in this role. He has done a lot of impressive acting in films, but none of it has been sexually romantic, and the age of 64 was not the right time to take up that line of work. [03Jul1995, Pg. 26]

Rogozhkin's hard, hands-on directing technique and the physicality of all three actors are--or could be--impressive, but they are swamped here in a sea of ideological mush.

At least we have the chance to see Sharif again, with our memory of the sun behind him, even though this film is not much more than a sweetmeat--Turkish delight.

Combination of comedy and gravity is certainly common enough, but it requires a sure hand and perceptible intent. This screenplay has some neat touches, but it never makes up its mind.

Holofcener, who studied film at Columbia and has directed shorts, gets some sprightliness into her writing but not much difference in characterization between the two women. [12 Aug 1996, Pg.26]

The results make poor old King Kong look like something from a Macy's Thanksgiving Day parade. Such is progress. [12 July 1993, p.26]

The Good Thief merely adds a new tinct to the pathos of Jordan's career. Once again we see a director who is better than anything he has so far done.

Fahrenheit 9/11 is sometimes slipshod in its making and juvenile in its travesty, and of course it has no interest in overall fairness to Bush. But it vents an anger about this presidency that, as the film's ardent reception shows, seethes in very many of us.

Mondovino is repetitious. The version that is being shown here runs 131 minutes and would be more effective with about twenty minutes of condensation.

Dismal and heavy, and the failure rests chiefly with Johnny Depp, who plays Barrie.

Many sequences, many moments, are turned skillfully, and the look of the film is much of the time breathtaking. Yet, for its entire two hours and fifteen minutes, we merely watch it. It is there. We are here, regrettably objective.

Soderbergh, the writer and director, has slowed his metronome almost to a crawl, has repeated and delayed and protracted, in an attempt at depth. The net effect is a small paradox: incomprehensibility caused by drag, not by rush.

Nicholson, one of the best actors in American screen history, is miscast again… He is quite visibly uncomfortable in his role. It needed an actor who could easily be viciously stuffy, like William Hurt. Nicholson struggles for the core of the man but never gets it. [Feb. 2, 1998]

[Douglas McGrath's] adaptation of the novel is as complete as two hours would allow. What it lacks texturally is what no adaptation could adequately supply: the gleam of the Austen prose. [19 Aug 1996, Pg.38]

Martin himself still seems to be filing in at run-throughs for the real star who couldn't make rehearsals. [11 March 1991, p.28]

Haggis has made a safe picture. It is familiar enough that it slips easily into our film-watching faculty without any fuss, yet his handling of it--his muscular belief in what he is doing--makes us hope that his next screenplay will be a bit less safe.

The real pleasure is in having a film that is like a box of assorted chocolates: you have the power to approve or not as you move through the variety, even though the bits are picked for you.

The best way to watch this film is while sipping coffee in a café. Nicotine optional.

Cruise is becoming a real star, confident and gleaming. But neither he nor Hoffman nor the cleverness of the director, Barry Levinson, can prevail against a screenplay that has a beginning at the Ohio home, a finish in L.A., and nothing much in between. [9 Jan 1989]

More amusing than exciting. [19 June 1989, p.28]

Built on one of those particularly ludicrous plots in which, just before the end, we are meant to believe that a long succession of coincidences was really a diabolical scheme. [23 Feb 1998, p. 24]

The film is merely a succession of odd events. But those events are interesting, and the texture of the village's life is full-fashioned.

None of the actors completely satisfies.

The pace is fairly hectic, which it needs to be. (Mustn't linger on bubbles.) The performances are warm, especially the tender Judith Godrèche as the doctor's wife.

What keeps us watching? Chiefly it is Edward Norton's performance as Harlan. It is hard to doubt his belief in everything he says, no matter how silly or dangerous it sounds.

In short, this squad is an ill-trained, slovenly bunch of soldiers. That such behavior exists, or can exist, in any army is surely commonplace, but that Israeli producers should want to make a film about the matter at this time is puzzling.

Eastwood has never seemed less the persona he has built through the decades, the calm yet commanding center of a storm.

Malkovich has done considerable directing in the theater, but nothing in the acting here shows acuteness of choice or subtlety of touch.

The one attraction in the picture is DiCaprio's performance: easy yet strong, confident, humorous.

The danger in Hong's procedure is obvious. Dramatists learned long ago that it is risky to include a static character because he may so easily bore the audience.

The film is a pretty good picture show, as we used to say, but anyone who has read Nelson Algren’s wonderfully poetic novel is likely to make invidious comparisons and be otherwise distracted, particularly when the film strives to narrow itself to a problem of drug addiction. 

The two leading actors in The Upside of Anger are so good that their performances, even more than the story they are in, keep us interested.

The overall effect of the film is melancholy: it seems desperate for the past.

Come back, Jim Jarmusch. Come back to the pungency of your first films. Leave the 1970s. Come back to the future. [03 Jun 1996, Pg.30]

A pretty good thriller for the first forty minutes or so. [25 Aug 1997, p. 24]

Less would have been more. Still, CSA has some laughs, most of them bitter.

All in the cast are competent, and some of the slaughter scenes make us ache, but the overlaid material does not enrich, it impedes.

Everything falls into place, click click click. Like many a formulaic piece, this one engages a real theme--here it's the conflict between the concept of duty and the idea of the individual--and does little with it. [25 Jan 1993]

Black comedy? Black enough, but they muffed the other word. Robert Benton and Harold Ramis, put on dunce caps and go stand in the corner.