Frequent, fiery battle scenes are well mounted, and in between are tenderer moments.

This film is both a loving homage to Austen and a celebration of fashion and decorative arts.

Damage is the kind of movie that risks unintended laughter for the simple reason that reckless passion almost always looks ludicrous from the outside. The filmmakers must establish just the right tone, which Malle, Irons and Binoche do for the most part, although occasionally they falter. It's hard to buy the final revelations about Binoche's character, which are meant to explain something that's probably best left alone. [22 Jan 1993, p.20]

Director Matt Spicer...is dealing with some fairly obvious themes; i.e. everything on social media isn’t what it seems; living your life online isn’t necessarily a good idea. But he finds much wit in the characters, and in the wicked fun the actors are having.

Alda brings admirable dimension to his small role, and once again Huston proves that she could read one word of dialogue and assume full command of the screen. [20 Aug 1993, p.D14]

The tension never lets up and the shocking twists in the story need to be seen to be believed.

Molly’s Game could have been a terrific movie if Sorkin could have edited out 20-30 minutes; as it is, it’s a good movie overstuffed.

The frenetic style suggests the influence of Richard Lester's British comedies, but the storyline and the use of rock music suggests that Coppola may have influenced Mike Nichols' "The Graduate," which was released one year later. [14 Jan 1999]

Other than a few blips, Blinded by the Light is a production that is as strong as any Springsteen anthem and as inspiring as any lyrics by the Boss.

Strong performances by Samson Coulter, Ben Spence and Elizabeth Debicki anchor a delicate coming-of-age story that explores masculinity and fear, and, like surfing, is equally about what’s beneath as on the surface

What’s fun here is both the easy charm of the four women (two of whom have a long screen history together; watch for Smith and Latifah in a shout-out to 1996’s “Set It Off”), and the range of comedy styles they display.

It not only feels like a transposed stage piece, it plays like a workshop performance that may not have found its final form. But the actors keep it lively and darkly funny, and the picture rarely feels stagey. [07 Oct 1994, p.D31]

The film belongs to Streep, who makes Florence a sweetly feathery dreamer — singing like an angel, in a voice that only she can hear.

Blending archival footage, actor re-creation and special effects (sometimes all in the same shot), [Sokurov] creates a sense of specific place and time — and, in doing so, crafts a sort of cinematic ode to art.

Despite a slightly relaxed first hour and forgivably minimal lapses in credibility, debut screenwriter John Lee Hancock has crafted an ultimately satisfying study of fate and circumstance that is worthy of its superstar showcase. [24 Nov 1993, p.E1]

Not a perfect movie, but a truly moving one.

Filmed with great respect and palpable love for its subject, Big Sonia is one of those documentaries that seems to bring its own light — just like the woman at its center.

A conventional but thoroughly entertaining film.

A rare charmer from the DC Comics universe.

None of this makes Into the West genuinely unique, or even lastingly memorable, but by refusing to sugar-coat its story or characters the way so many family films do, this is a welcomed adventure that offers enchantment without blinding children to life's difficult passages. [17 Sep 1993, p.D3]

Ultimately, The Room Next Door is as much about love as it is about death — not the romantic kind of love, but the sort in which two friends hold each other up (quite literally, as Martha takes Ingrid’s arm during their walks) and give each other what they need, selflessly. Its final, magical moment finds uncanny beauty in sadness.

Schrader's dialogue ranks among his best, and Sarandon chews up her delightful role with infectious, boldly confrontational relish. And for a director whose films have often been bleak and almost clinically detached, Light Sleeper presents Schrader in a new and philosophically redemptive light.

The Swan Princess may be derivative but it clicks, as ex-Disney animator Don Bluth's latest films ("Thumbelina," the video-bound "Troll in Central Park") have not. With just one movie in release, Rich is starting to look like the only other animation game in town. [18 Nov 1994, p.G33]

By the end, you look at the musician’s faces — particularly Ma’s beaming smile — and find a truth: through music, we can always find our way home.

Prisoners is a dark, deeply serious examination of how loss can unhinge us; it grabs onto you, and you may have trouble shaking it away.

A tidy if bloodstained little thriller with a clever idea at its core.

With its dream cast and a burst of cinematic endorphins, The Paper is delivered on time, its headlines written large for enjoyable mass consumption. [25 March 1994, p.D3]

As playfully time-oriented as its title, Becoming Who I Was makes reincarnation a central part of its story about a journey through more than one life.