The world of his films may be violent, but Hill's vision is a delicate, subtle one-of individuals packing away the tiny bit of meaning and emotion life has granted them, and fighting to protect it at all costs. It's not a sentiment that can survive in cartoons; that it emerges at all in Red Heat is a tribute to Hill's still great talent. [17 Jun 1988, p.A]

Munchausen is indeed a beautiful, burgeoning, madly voluptuous movie from minute to minute and image to image; it's in the aggregate that the film fails to find the weight and the rhythm it needs to truly enthrall. [10 Mar 1989, p.A]

Politics hovers over every moment of Another Road Home, Elon's layered, loving and deeply personal documentary about her quest to find the Palestinian caregiver who raised her.

Mostly it's an incredible tale of ritual and perseverance.

And although Schreiber's hip, intelligent eye is a nice match for Foer's hip, intelligent pen, his movie strays from its own history, creating instead a world, as Alex would say, that is "once-removed."

Endearing but predictable.

Full of groovy music and comic characters--many with a priceless reaction to Lovelace's oral party trick--but it hardly manages to say anything new or thoughtful.

These are not people me and you and everyone we know know--these are "short version" people, characters who comfort each other by quoting Shakespeare.

Moments of this film reminded me of Alexander Payne's great library of male dysfunction -- "Election," "About Schmidt," "Sideways" -- not because King of the Corner actually reaches Payne's plane, but because I wish it had tried.

Roos does an admirable job balancing the tragedy and comedy, but he bogs down every character with so much baggage that it's impossible to render them honestly without the captions.

Ingenious with his use of music and hypnotic pacing, Winterbottom keeps us in his world as usual. But this time that world feels ever more gratuitous, meandering and puzzling, with sex that's less and less authentic even though it's real.

Mad props to Peter Zuccarini, who headed the team of ocean-bound photographers and captured some remarkably vivid footage, and also to the actors, who spend plenty of time looking cool, calm and collected swimming with the predatory fishes.

Inner dialogue is a hard sell on screen.

It's a cheap thrill, with twists that later seem evident and foreshadowing that often seems obvious, with a B-movie look and vibe reminiscent of the much tighter "Jagged Edge."

It's when Spielberg stops trying to think so hard that Munich works best. Though some of the assassination scenes feel a little too choreographed, more "West Side Story" than "Bourne Identity."

It's formulaic and frequently over the top, 30 minutes too long and altogether too slow, but oh when those gorgeous, graceful pups tilt their heads just so … love.

It's just OK. Not great. Not awful. Not particularly memorable. Not entirely forgettable. Just OK.

It's a cute romantic comedy, just as Shakespeare intended.

If "Roll Bounce" and "Boyz n the Hood" fell in love and had a PG-13 baby, it would be ATL.

The trouble with Bridget redux is also simple: Thai jail.

McAvoy does his best with this subpar, heart-tugging material. At times his mix of easy charm and inner demon pulls Rory out from under the tired script, but those pesky dramatic forces keep pushing him back in for every predictable plot development.

The scenery is pretty and the locals endearing, but Schorr never gets past charming.

Tucker has done a bang-up job, distancing and hypnotizing us with his frenzied, fragmented, sexy images. But war isn't a video game.

I'll describe the central characters in Disney's new ice-skating flick, Ice Princess, and you guess the plot.

Just doesn't have the same zing.

Its gorgeous black-and-white photography, dirty and matte, will almost convince you that anything this slow, small and bereft of dialogue must be important.

Unleashed is like an old dog: No new tricks.

The film never gets going. It's too slow and plodding for kids--even too obvious.