Lorenzo's Oil, which stars Susan Sarandon and Nick Nolte as the Odone parents, is not superbly made. But it's adequate enough to convey the story. No filmmaker (in this case, director George Miller) could stand in the way of this drama, though certainly others could have made it better.

DiCaprio is daring and unguarded in his performance as Rimbaud, and Thewlis does an astounding job of showing the despair of an artist whose time has passed.

Missing lacks the streamlined tension of the dynamically paced, left-wing political thrillers -- Z, The Confession and State of Siege -- that made Costa-Gavras' reputation a few years back. Nevertheless, it's an expertly acted and suggestive impression of battered American innocence and good will in the explosive, political environment of a South American country (obviously Chile, 1973) during a military coup. [12 Feb 1982, p.C1]

Within the stylistic limits and shortened time span the filmmakers have decided to use, All the President's Men is an exceptionally well-made film. It's simply impossible to suppress the feeling that a more involving and satisfying movie would have emerged from a less restrictive framework.

There's enjoyable chemistry between the two, but not the sort that sequels are made on. Aykroyd's straight man gets most of the laughs with his hilarious variation on the late Jack Webb's hard-bitten dialogue, with Hanks playing less often off the priggish, ever-positive Friday.

Artistically self-indulgent, if beautifully acted, Light Sleeper isn't aimed at audiences with a hunger for conventional entertainment and upbeat endings -- for Schrader this is an improvement.

A respectably stirring film about the rupturing birth of civil rights in the South. Although most of Walk Home heads down this ready-for-prime-time moral path, director Richard Pearce and screenwriter John Cork uncover some interesting dramatic grays along the way. 

Alice, which seems like child's play after last year's sober Crimes and Misdemeanors, finds Allen at his most optimistic and sentimental since Radio Days. His pen is not as sharp nor his wit as keen as it has been, but he has become accessible to a broader audience in this whimsical entertainment.

What's lost in momentum is gained back in the unexpectedness of the jokes and the quality of the performances. Mermaids is an infectious, bouncy diversion, like the fruity dance the girls and their mother do around the kitchen table at the film's end.

The Toy would improve with a little tinkering. Still, it's surefire family fare. [10 Dec 1982, p.23]

Swamp Thing isn't completely successful at banishing the old corkers and stereotypes, but it's a harmless, watchable comic-book thriller, refreshingly suitable for kids of almost any age.[10 May 1982, p.C2]

Despite its herky-jerky pace and aimlessness of plot, Three Fugitives is engaging sport, primarily enjoyable for the hearty teamwork of Nolte and Short -- a comedic contretemps as bruising as a Punch and Judy show.

Katheryn's summation was meant to be the final flourish, but McGillis gives a flat-footed performance. However, Foster overcomes McGillis' inertia, as the sweet-natured Sarah, a lonely little waitress who makes her home in a trailer park. Under her tight jeans and tough talk, she proves as fragile as a ballerina on a music box. Foster creates the ultimate victim without ever becoming a wimp, mixing dignity with defenselessness. The Accused must be acquitted of its misdemeanors if not for its good intentions, for this vibrant performance.

Lucas is about as likable as this kind of movie ever gets.At the heart of Lucas is an interesting idea -- a Woody Allen movie for kids, with a bespectacled, nerdy hero -- that never gets developed. Still, director David Seltzer has kept it low-key, sweet and personal -- it's like a nice "Afterschool Special."

It's hard to wholeheartedly recommend The Hitcher. Sadistic and graphically, pointlessly violent, it may leave most sickened. But it is also a distressingly effective thriller, with plenty of scalp-tingling, seat- clutching squeals on wheels. And here's betting you'll check the back seat of your car after you leave.

An uncommonly warm, relaxed little movie, the kind they call a "feel-good film," but without a cloying artificially-sweetened aftertaste.

A diverting cops-comedy-cum-action-romance.

At once warmly earthbound and nobly starstruck, it should give receptive spectators a savory pick-me-up. [13 July 1984, p.E1]

The major difference between films is "2010's" greater emphasis on people. The performances are all excellent, but Helen Mirren is utterly convincing as the formidable commander of the Leonov. Roy Scheider costars as the former head of the Space Agency, with John Lithgow as the enginer of Discovery and Bob Balaban as the father of H.A.L. [7 Dec 1984, p.39]

Mask is a tear-jerker in the sense that your dentist is a tooth jerker -- it yanks on your heart with pliers. That said, the story it has to tell is so unutterably sad and inspiring that the movie works in spite of itself. [22 Mar 1985, p.C1]

Deep, it's not. But it is glossy, funny and well-performed. And like other ensemble movies, it's stronger on character than plot as it shifts from relationship to relationship to draw a picture of the whole. [28 June 1985, p.27]

Director Jeannot Szwarc could have done more with the action scenes, but he has a snappy sense of pace and comic timing. Blond, blue-eyed Slater brings an engaging sweetness to Supergirl; and she plays Linda with an awkward, gawky girlishness, subtly different from her Supergirl role.

Murray, though, is wonderful. He doesn't quite duplicate the manic madness of his "Saturday Night" bits, but his performance as Tripper, the camp's head counselor, almost makes the film's sophomoric humor worth sitting through. He's a master of improvisation, flitting from role to role - one minute a swaggering, would-be Lothario, the next a frenzied coach - with Morkian speed. He's also got a human side. When he's not clowning around he takes time to befriend a homesick 12-year-old camper (Christopher Makepeace), thus displaying a streak of responsibility that would curl John Belushi's hair. [13 July 1979, p.24]

Certainly the going is grim, and there's nothing socially redeeming about "Blues" whatsoever, but writer/director George Armitage's movie is also funny, stirring and full of great moments done in the pop-arty, lightly macabre spirit of producer Jonathan Demme.

Blending physics and fantasy, Flight spins an easy-going adventure that's also a late-summer treat for the movie-going family. [01 Aug 1986, p.25]

Even though Single White Female is more second-rate, knife-stabbing psycho drivel, it's no pain to sit through. It looks great, for one thing. It has two fabulous faces -- Bridget Fonda and Jennifer Jason Leigh. It's also funny, sexy, suspenseful and, yes, utterly stupid.

Matilda, the funny new children's film directed by and starring Danny DeVito, takes that alter-family and creates a real-life fairy tale. Frequent use of vibrant colors like magenta and chartreuse, combined with unflattering camera angles and bizarre characters, give the action an unreal quality, like the land of Oz. [02 Aug 1996, p.B01]

Despite its excesses, "The Howling" has some tricks and jokes worth howling about. The sexual undercurrents in the werewolf myth have been made playfully explicit, especially in the sultry, voluptuous form of Elisabeth Brooks, cast as a nympho werewolf named Marsha. When she ambushes a victim in the woods, they change forms in the course of coupling strategically obscured by a blazing campfire in the foreground -- a deliberate howl of a sex scene. [13 March 1981, p.C1]