David Sterritt
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For 1,981 reviews, this critic has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 5.1 points higher than other critics. (0-100 point scale)

David Sterritt's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Chaos
Lowest review score: 0 Barb Wire
Score distribution:
1,981 movie reviews
    • 69 Metascore
    • 75 David Sterritt
    Detailed, compassionate, humane.
    • 63 Metascore
    • 75 David Sterritt
    Humane, unsentimental, eye-opening.
    • 82 Metascore
    • 75 David Sterritt
    Efficiently and imaginatively directed.
    • 86 Metascore
    • 75 David Sterritt
    A ruthless dissection of suburban malaise.
    • 65 Metascore
    • 75 David Sterritt
    The music and camera work are dazzling, and the story has solid sociological insights into a fascinating pop-culture period.
    • 58 Metascore
    • 75 David Sterritt
    The dialogue is often silly but Bette Midler, Diane Keaton, and Goldie Hawn deliver it with enough crackerjack energy to keep audiences laughing.
    • tbd Metascore
    • 75 David Sterritt
    This engaging 1966 comedy isn't de Broca's best movie, but it was so popular with American audiences in the late '60s that it's still one of the era's most fondly remembered cult classics.
    • 71 Metascore
    • 75 David Sterritt
    Harrowing, realistic, humanistic.
    • 75 Metascore
    • 75 David Sterritt
    The movie's most striking assets are its lyrical visual style, which forms a silky counterpoint to the plot's turbulent emotions, and Beat Takeshi's smooth and expressive performance as a senior warrior.
    • 54 Metascore
    • 75 David Sterritt
    This is closer to an Allen comeback than anything else he's made recently. Maybe he'll achieve it with his next movie, "Match Point," due this year.
    • 79 Metascore
    • 75 David Sterritt
    Its grimness is explicit, so approach it with caution.
    • 64 Metascore
    • 75 David Sterritt
    Timely, chilling, and grimly instructive.
    • 68 Metascore
    • 75 David Sterritt
    As deliciously eccentric as the real-life characters it chronicles.
    • 64 Metascore
    • 75 David Sterritt
    The story's rambling, meandering style is just right for the melancholy subject being explored, and all the acting is excellent.
    • 66 Metascore
    • 75 David Sterritt
    Gwyneth Paltrow is enchanting as a self-confident young woman who decides to wile away her time by playing matchmaker for a friend whose romantic life would fare much better without interference.
    • 54 Metascore
    • 75 David Sterritt
    The acting is excellent, and the movie has a good-natured spirit to match its ultimate faith in the hero's deep-down goodness.
    • 47 Metascore
    • 75 David Sterritt
    Effective action, solid suspense, excellent Ribisi, plus enough clichés to equal the grains of Gobi sand that fill the screen.
    • 67 Metascore
    • 75 David Sterritt
    Baye and Lopez are excellent, as always.
    • 71 Metascore
    • 75 David Sterritt
    The picture makes up in energy and high spirits what it lacks in structure and style.
    • 73 Metascore
    • 75 David Sterritt
    Thoughtfully directed by the versatile Iain Softely from Hossein Amini's screenplay, which reduces James's intricately structured narrative to feature-film scale without losing the book's rueful psychological tone.
    • 68 Metascore
    • 75 David Sterritt
    Tykwer doesn't aim for the heights of excitement and invention he reached in "Run Lola Run," but he blends an impressively varied palette of moods into an intriguingly unpredictable story that's never short of ideas.
    • 80 Metascore
    • 75 David Sterritt
    The movie is often preachy and self-conscious, especially in long dialogue scenes, where Robbins's inexpert scriptwriting makes people talk at instead of with each other. Yet the picture's solid assets enable it to soar above such problems, both intellectually and emotionally. [29 December 1995, Film, p.13]
    • Christian Science Monitor
    • 60 Metascore
    • 75 David Sterritt
    Redford gives one of his best performances ever in this taut, emotionally engrossing thriller.
    • 57 Metascore
    • 75 David Sterritt
    Splendid acting, a screenplay as likable as it is unpredictable, and an undercurrent of deep human generosity make this a particularly engaging comic-dramatic experience.
    • 65 Metascore
    • 75 David Sterritt
    De Villa's debut film is persuasively written and acted, if a tad rougher around the edges than one might wish.
    • 73 Metascore
    • 75 David Sterritt
    Who would have guessed a documentary about Derrida, the great French philosopher of deconstruction and "différence," would be so entertaining?
    • 62 Metascore
    • 75 David Sterritt
    This unusual Macedonian release is engrossing if not always nimbly directed.
    • 52 Metascore
    • 75 David Sterritt
    The characters are hardly original...but Stone puts them into play with his usual fever-pitch gusto, producing what's probably the most heart-pounding gridiron movie ever made.
    • 53 Metascore
    • 75 David Sterritt
    Manages to seem fresh, funny, and original from start to finish.
    • 85 Metascore
    • 75 David Sterritt
    This remarkably clever, often hilarious animation derives much of its humor from its satirical view of the 1950s.
    • 59 Metascore
    • 75 David Sterritt
    Lavishly produced animation makes imaginative use of familiar formulas, filling the screen with handsome images accompanied by sprightly songs and lively voice-performances.
    • 66 Metascore
    • 75 David Sterritt
    Stone does a masterly job of balancing two Nixons, the ruthless power-monger and the sadly vulnerable man, allowing each to flourish as a fully rounded screen figure. Yet here, as in many of his other movies, Stone pushes the envelope a little too far, allowing his own similarities to Nixon. [20 Dec 1995, p.14]
    • Christian Science Monitor
    • 56 Metascore
    • 75 David Sterritt
    It's so clean a film, you could bring your grandmother.
    • 64 Metascore
    • 75 David Sterritt
    Grand Canyon finds Kasdan in firm control of a restrained and intelligent style. Eliciting first-rate performances from a well-chosen cast, he brings these to the screen with graceful eloquence - giving words as much weight as actions.
    • 67 Metascore
    • 75 David Sterritt
    If one's domestic environment is a kind of autobiography, then the five households visited by this entertaining documentary reveal fascinating lives indeed.
    • 43 Metascore
    • 75 David Sterritt
    Lively acting and stylish directing make this an engaging comedy-drama, although its attitude toward guns and violence is disconcertingly romantic.
    • 43 Metascore
    • 75 David Sterritt
    Although overlong, the picture has a fair measure of jolts and surprises.
    • 75 Metascore
    • 75 David Sterritt
    The story is as rambling as the characters, but superb acting by McTeer and Brown goes a long way toward redeeming it.
    • 55 Metascore
    • 75 David Sterritt
    The offbeat screenplay turns even the corny bits in unpredictable directions, and it's rare indeed to see such consistently superb ensemble acting.
    • 70 Metascore
    • 75 David Sterritt
    Logue's magnetic performance is the movie's main virtue, supported by a good secondary cast and a sharply written screenplay.
    • 54 Metascore
    • 75 David Sterritt
    The movie works well as a straight-out horror yarn, proving that the Hughes Brothers are more versatile than their previous "ghetto pictures" suggest.
    • 74 Metascore
    • 75 David Sterritt
    A caper that rarely goes wrong.
    • 63 Metascore
    • 75 David Sterritt
    The film begins strongly and violently, then simmers down to a standard-issue suspense story.
    • 58 Metascore
    • 75 David Sterritt
    The picture is a little too pretentious to achieve its artistic and emotional goals, but its ambition and imagination are impressive at times.
    • 86 Metascore
    • 75 David Sterritt
    Loach has made more memorable films, such as "Raining Stones" and "Ladybird Ladybird," but his dramatic sense remains strong and his social conscience is absolutely unstoppable.
    • 63 Metascore
    • 75 David Sterritt
    High-energy comedy.
    • 64 Metascore
    • 75 David Sterritt
    A revealing, often amusing, sometimes disturbing look at the history and politics of marijuana use in American society.
    • 64 Metascore
    • 75 David Sterritt
    Some will dislike its shaggy-dog screenplay and restless camera work, and others may find its finale too postfeminist for comfort.
    • 66 Metascore
    • 75 David Sterritt
    The fine cast helps an old-fashioned screenplay seem reasonably fresh most of the time.
    • 73 Metascore
    • 75 David Sterritt
    Sensitive acting and imaginative filmmaking help rescue the movie from potential excesses of its own.
    • 66 Metascore
    • 75 David Sterritt
    Best of all, Ben Kingsley as the menacing man in the yellow suit, brings the picture pungently to life every time he flashes his enigmatic smile.
    • 66 Metascore
    • 75 David Sterritt
    The screenplay by Tina Fey -- head writer for "Saturday Night Live" -- is marvelously smart, though, and the ensemble cast is uncannily in sync with it.
    • 64 Metascore
    • 75 David Sterritt
    Alexander Payne's equal-opportunity satire persuasively argues that no ideological group has a lock on "values" or "correctness," and reminds us that fanatics can be found on every side of an issue.
    • 62 Metascore
    • 75 David Sterritt
    An entertaining look at a genuinely offbeat subject.
    • 62 Metascore
    • 75 David Sterritt
    Full of old tricks - cuts between worried faces and overheated gauges inching into the red zone - but director Mostow pulls most of them off with conviction and pizazz.
    • 44 Metascore
    • 75 David Sterritt
    Boorman treats this moving, important subject with restraint, tact, and candid views of horrors suffered by the nation.
    • 57 Metascore
    • 75 David Sterritt
    The comedy is frantic and tasteless in the usual Waters mode, but it takes telling potshots at the Hollywood establishment, which isn't nearly so open about the tackiness of its products.
    • 41 Metascore
    • 75 David Sterritt
    John Turteltaub directed the drama, which lapses into medical jargon and new-age clichés near the end, but it scores telling points with its respect for intelligence and optimistic view of human potential.
    • 57 Metascore
    • 75 David Sterritt
    Girard invests each episode of this production with dramatic credibility and emotional strength.
    • 60 Metascore
    • 75 David Sterritt
    Fine acting and creative directing lend three-dimensional life to this absorbing story, which blends dreamlike elements with sharply etched drama and touches of pure cinematic ingenuity.
    • 60 Metascore
    • 75 David Sterritt
    Driver gives a winning performance in a human-scaled story that avoids romantic clichs and gender stereotypes, although a few of both creep in from time to time.
    • 66 Metascore
    • 75 David Sterritt
    The ultimate challenge of making a first-rate caper movie is dishing up often-used ingredients with enough novel twists to make them seem familiar and fresh at the same time. Mamet soars over the hurdles with energy and imagination to spare.
    • 52 Metascore
    • 75 David Sterritt
    Smart and entertaining almost every step of the way.
    • 71 Metascore
    • 75 David Sterritt
    The ensemble acting is impressively in tune; and Michael Nyman's surging score adds an extra measure of emotional power.
    • 71 Metascore
    • 75 David Sterritt
    The humor is uneven and sometimes crude, but much of the mock-documentary is surprising and amusing.
    • Christian Science Monitor
    • 60 Metascore
    • 75 David Sterritt
    The fast-talking Tucker and quick-kicking Chan are a surprisingly good team that manages to deliver a fun combination of highly choreographed action and comedy.
    • 71 Metascore
    • 75 David Sterritt
    Intolerable Cruelty is a romantic comedy, but it has enough dark, strange, and cynical moments to qualify as a full-fledged part of the Coen canon.
    • 46 Metascore
    • 75 David Sterritt
    Lively acting, eye-catching cinematography, and funny dialogue lift this fantasy a notch above the average until love-story cliches and horror-movie shocks bog it down.
    • 63 Metascore
    • 75 David Sterritt
    The animal action is often gripping and suspenseful. As a whole, a giant step beyond Annaud's earlier animal movie, "The Bear," a more gimmicky film of 1988.
    • 65 Metascore
    • 75 David Sterritt
    Ali
    What keeps the movie from championship status is a sense that the filmmakers see Ali's social and political contributions as extra added attractions, ultimately less important than his greatness in the ring.
    • 80 Metascore
    • 75 David Sterritt
    Its most vivid scenes -- a visit with an insane ophthalmologist, a showdown at Anderton's supposed crime scene -- have the kind of anything-goes creativity that set "A.I. Artificial Intelligence" apart from the crowd last year.
    • 90 Metascore
    • 75 David Sterritt
    The story raises hard moral questions relating to the relative value of human lives and the overwhelming debt that may be felt by those who benefit when others sacrifice. But the movie falls short of excellence because it doesn't so much explore these issues as finesse them in an action-filled climax.
    • 50 Metascore
    • 75 David Sterritt
    Julia Roberts is brighter and spunkier than usual, and Rupert Everett steals the show.
    • 85 Metascore
    • 75 David Sterritt
    Victimization of homosexuals during the Holocaust era has often been overlooked. Epstein and Friedman lucidly recount this woeful history, with help from Everett's articulate narration.
    • 83 Metascore
    • 75 David Sterritt
    Fascinating footage goes beyond the boxing ring to document Ali's brilliance as a public personality.
    • 69 Metascore
    • 75 David Sterritt
    Riveting stuff.
    • 61 Metascore
    • 75 David Sterritt
    A splendid adaptation that will be hard for the others to match. The Portrait of a Lady, directed by Jane Campion, brings intelligence and sensitivity to a story rich in psychological subtlety and sociological detail.
    • 72 Metascore
    • 75 David Sterritt
    Färberböck has directed the story with a canny blend of liveliness and taste.
    • 45 Metascore
    • 75 David Sterritt
    Violence Hitch would have found way beyond what's necessary. Horror fans will find effective shivers, though.
    • 47 Metascore
    • 75 David Sterritt
    This energetically acted, creatively directed comedy-drama has every ingredient for success except a satisfying finale.
    • 76 Metascore
    • 75 David Sterritt
    This offbeat Chinese production is at once an innovative art film, a traditional suspense yarn, and a moody voyage through Shanghai's gritty back roads.
    • 79 Metascore
    • 75 David Sterritt
    Milos Forman's drama is full of outrageous material that will offend liberals and conservatives alike, but it's positioned on the cutting edge of contemporary debates about free speech, feminism, and the effects of mass media on modern society.
    • 69 Metascore
    • 75 David Sterritt
    Some of the action is as lurid as the title, but passionate performances and ingenious visuals make this the most absorbing movie by Spanish director Almodvar since his great comedy "Women on the Verge of a Nervous Breakdown."
    • 73 Metascore
    • 75 David Sterritt
    The story is sweet by animé standards, although it has harsh elements as well.
    • 42 Metascore
    • 75 David Sterritt
    Wilson is the main reason to see The Big Bounce, where he's perfect as a reasonably smart guy who often seems to have no idea what he's getting into. The other reasons are a solid supporting cast.
    • 78 Metascore
    • 75 David Sterritt
    One of the most inventive offerings so far this season.
    • 62 Metascore
    • 75 David Sterritt
    The kind of breezy teen-pic that youngsters flock to nowadays, and this particular specimen is imaginative enough to explore an environment off Hollywood's beaten path. It's also broad-minded enough to portray the evangelical milieu with flair, satirize its foibles with restraint, and respect its ideals even as it shows how individuals may fall short.
    • 65 Metascore
    • 75 David Sterritt
    Compassionate and marvelously acted, although a subplot about the gay grandson slows the story down for a while.
    • 69 Metascore
    • 75 David Sterritt
    The movie has no profound insights to offer, but its nimble acting and lifelike dialogue make it entertaining as well as thoughtful. Think "Stand by Me" meets "Ghost World," and you just about have it.
    • 71 Metascore
    • 75 David Sterritt
    Stylishly made, if less intellectually resonant than first-rate Mann films like "Ali" and "The Insider."
    • 73 Metascore
    • 75 David Sterritt
    Snow is a full-fledged genius who enlarged the fundamental horizons of cinema with his classic "Wavelength," but here his aesthetic and philosophical ideas don't quite keep pace with his technological boldness.
    • 58 Metascore
    • 75 David Sterritt
    Poignant and well acted, though not very memorable.
    • 55 Metascore
    • 75 David Sterritt
    This atmospheric story unfolds through leisurely shots that invite us not just to watch the characters, but to live and breathe along with them.
    • 71 Metascore
    • 75 David Sterritt
    While the result is visually brilliant, it's oddly disjointed and packs less emotional force than Richard Price's novel.
    • 65 Metascore
    • 75 David Sterritt
    A series of vignettes...Some are weak, some are superb -- there's a priceless one with Alfred Molina and Steve Coogan as Brits with different feelings about learning they're cousins -- but they get better as they go along.
    • 67 Metascore
    • 75 David Sterritt
    Michael Douglas and Annette Bening head the well-chosen cast, but what gives the movie substance is its willingness to take real stands on real political issues.
    • 67 Metascore
    • 75 David Sterritt
    Clooney shows strong filmmaking imagination in his directorial debut, but the movie's driving force is Charlie Kaufman's screenplay, a genre-bending romp that blurs all boundaries between the factual and the fantastical.
    • 71 Metascore
    • 75 David Sterritt
    Colorful, if not exciting.
    • 59 Metascore
    • 75 David Sterritt
    Although it's less novel and feisty than the original "Fantasia" of 1940, this collection of music-filled animations is highly entertaining at times.
    • 68 Metascore
    • 75 David Sterritt
    Energetic acting and perky filmmaking help this likable Argentine comedy-drama avoid the sentimentality that intermittently threatens it.
    • 62 Metascore
    • 75 David Sterritt
    It's not a masterpiece, but its story of Civil War enemies banding together for battle against Indian warriors and French soldiers packs an occasional wallop.
    • 78 Metascore
    • 75 David Sterritt
    Wharton's old-school compassion and Davies's taste for artfully wrought melodrama make an unusual but ultimately successful combination.
    • 50 Metascore
    • 75 David Sterritt
    It's a unique blend of history and hysteria, and there's no escaping the dead-serious ideas that run beneath its flamboyant surface.
    • 72 Metascore
    • 75 David Sterritt
    The screenplay has flashes of real wit, and Perlman is perfect in the title role.
    • 64 Metascore
    • 75 David Sterritt
    James Mangold follows up the promise of his excellent "Heavy" with this smartly written, superbly acted melodrama.
    • 71 Metascore
    • 75 David Sterritt
    This high-quality Disney animation combines strong pictorial appeal with amiable voice-performances.
    • 46 Metascore
    • 75 David Sterritt
    Vladimir Nabokov's novel helped open society's eyes to the evils of pedophilia in the 1950s, and this pensive adaptation renews the warning for a later generation.
    • 49 Metascore
    • 75 David Sterritt
    The first half of this freewheeling comedy-drama finds Toback at his imaginative best. The second half sinks into silliness.
    • 52 Metascore
    • 75 David Sterritt
    Korine confirms his reputation as one of today's most experimentally minded filmmakers, helped by an inventive cast including German director Herzog in a surprisingly strong performance as the father.
    • 72 Metascore
    • 75 David Sterritt
    Liu is dazzling as the heroine, and the movie as a whole strikes a lovely balance between comedy and compassion.
    • 67 Metascore
    • 75 David Sterritt
    The gently told comedy-drama is more colorful than you'd expect, using wry humor and lively music to keep sentimentality at bay.
    • 61 Metascore
    • 75 David Sterritt
    The song-and-dance numbers that make this musical tragedy a celebration of life despite its awfully grim climax.
    • 76 Metascore
    • 75 David Sterritt
    Ms. Moncrieff's low-key directing is matched by fine acting from Agnes Bruckner as Meg and David Strathairn as her mentor. Aside from a somewhat schematic climax, this is as smart a debut as we've seen in a long while.
    • 58 Metascore
    • 75 David Sterritt
    The characters are sharply etched but the plot is made deliberately ambiguous, suggesting that family life is so emotionally intricate that no single story can contain or explain it.
    • 64 Metascore
    • 75 David Sterritt
    Moving and informative.
    • 67 Metascore
    • 75 David Sterritt
    It's not a deep-thinking film, and I wish it probed more thoroughly into the feminist issues it raises, instead of finessing them in a goopy finale. But much of it is first-class summertime fare, generating plenty of humor while examining a slice of Americ ana that's as revealing as it is entertaining.
    • 91 Metascore
    • 75 David Sterritt
    Its refusal to draw solid lines between "good" and "evil" characters is more sophisticated than the psychology of most current commercial pictures. It's well worth a trek to a theater adventurous enough to show it.
    • 78 Metascore
    • 75 David Sterritt
    Although the story seems disjointed at times, no other war movie has tried so valiantly to convey not only the suffering of combat but the awful fissures it leaves between humanity's ideal oneness with itself and the world we live in.
    • 85 Metascore
    • 75 David Sterritt
    Nicholson makes the movie so poignant that it's hard to resist, but I wonder if Payne and Taylor are rejecting the skeptical attitudes of their other films to become more popular, hoping a softer emotional tone will help this picture win the Oscars that have eluded their more tough-minded works.
    • 63 Metascore
    • 75 David Sterritt
    It's surprising no filmmaker has adapted Dodie Smith's novel before now, and pleasing that Mr. Fywell and company have done such a responsible job with it. It's one of the season's most captivating surprises.
    • 70 Metascore
    • 75 David Sterritt
    Very inventive, but stay away if you can't stomach over-the-top violence.
    • 74 Metascore
    • 75 David Sterritt
    Although the film doesn't probe Whale's personality as deeply as it might, the acting is excellent and movie buffs will enjoy its behind-the-scenes references and nostalgic film clips.
    • 73 Metascore
    • 75 David Sterritt
    The best scenes capture the blend of irony, melodrama, and real emotion that distinguishes Fassbinder's most memorable pictures.
    • 66 Metascore
    • 75 David Sterritt
    Some will find it exhilarating fun.
    • 67 Metascore
    • 75 David Sterritt
    What helps Lin's feature-directing debut is his insight into the dark side of living up to "model minority" stereotypes in a materialistic culture.
    • 33 Metascore
    • 75 David Sterritt
    This remake stays close to the eponymous 1979 horror movie it's based on, except for being precisely 10,000 times scarier.
    • 64 Metascore
    • 75 David Sterritt
    Earnest, if not as informative as it might have been.
    • 67 Metascore
    • 75 David Sterritt
    Directors as different as Otto Preminger and Jean-Luc Godard have taken a crack at "Carmen" and Ramaka's version is a colorful addition to the list.
    • 57 Metascore
    • 75 David Sterritt
    Unique and fascinating.
    • 74 Metascore
    • 75 David Sterritt
    If you can endure watching it, you won't forget this grim cautionary tale for a long time.
    • 76 Metascore
    • 75 David Sterritt
    Spielberg's directing is a tad less tricky than usual, but he doesn't have much talent for psychological suspense, which is the heart of the story. DiCaprio underplays nicely and Walken is superb as the con artist's downtrodden dad.
    • 65 Metascore
    • 75 David Sterritt
    The story wanders, the plot twists seem contrived at times, and the emotions are never as intense as they might be. But it highlights yet another facet of Hoffman's talent: a gift for monochrome, of all things! And it has a heart as good as Raymond's own. [30 Dec 1988]
    • Christian Science Monitor
    • 60 Metascore
    • 75 David Sterritt
    This modest drama is a touching tribute to the late Argo, a character actor you'll instantly recognize.
    • 70 Metascore
    • 75 David Sterritt
    Isn't for everyone, but horror fans with strong stomachs will find it a memorable monsterfest that rarely loses its bite.
    • 41 Metascore
    • 75 David Sterritt
    The picture repeats itself a lot, but Dash is a good sport in poking barbed fun at the PR machinations of today's music business.
    • 68 Metascore
    • 75 David Sterritt
    Nick Nolte gives a superb performance and Julie Christie is positively incandescent.
    • 66 Metascore
    • 75 David Sterritt
    Four stories with automatons as important characters...The last is the most touching, but all are skillfully made.
    • 61 Metascore
    • 75 David Sterritt
    The cast is appealing and much of the action is wryly amusing, although Baumbach borrows so many moves from Woody Allen and Francois Truffaut that their names should be in the credits. [5 June 1998]
    • Christian Science Monitor
    • 72 Metascore
    • 75 David Sterritt
    Leconte reconfirms his growing importance to French cinema with this precisely crafted, marvelously acted drama, which makes a powerful statement on capital punishment.
    • 62 Metascore
    • 75 David Sterritt
    This good-natured comedy serves up plenty of laughs while suggesting that the best experts in human psychology are plain old humans.
    • 69 Metascore
    • 75 David Sterritt
    Directed and cowritten by a veteran of Denmark's no-frills "Dogma 95" movement, this is a quiet, no-frills drama with simple human values at its core.
    • 49 Metascore
    • 75 David Sterritt
    Law is lively and Shyer keeps the action hopping with help from the movie's original gimmick of having Alfie keep up a running monologue to the audience.
    • 42 Metascore
    • 75 David Sterritt
    At heart, this is an old-fashioned monster flick decked out with Hollywood's full battery of high-tech visual effects. It's as goofy as it is gory -- stay away if you don't like in-your-face mayhem.
    • 71 Metascore
    • 75 David Sterritt
    A third aspect of The Tracker is less successful. In a badly calculated move, Mr. de Heer and singer Graham Tardif fill the soundtrack with songs full of clichés, platitudes, and truisms.
    • 63 Metascore
    • 75 David Sterritt
    The movie's TV-style production values are a little too slick, but the real-life stories are fascinating to watch.
    • 85 Metascore
    • 75 David Sterritt
    The story gains most of its dramatic impact from superbly understated acting and Christopher Doyle's atmospheric camera work.
    • 51 Metascore
    • 75 David Sterritt
    The computer-driven effects are impressive, but the adventure is hampered by a flat screenplay, dull acting, and just a hint as to why the dark side of the Force will eventually transform cute little Anakin into the evil Darth Vader.
    • 47 Metascore
    • 75 David Sterritt
    The story is a mess, as usual with Toback's movies, but intricacies of contemporary urban culture are vividly illuminated by his insistence on blurring the boundaries between fiction and reality.
    • 52 Metascore
    • 75 David Sterritt
    Rarely has a dance movie done so many cinematic pirouettes with such a graceful sense of audience-pleasing fun.
    • 79 Metascore
    • 75 David Sterritt
    Nolte gives one of his most fully realized performances, Coburn makes an amazingly powerful comeback, and Schrader's filmmaking has never been more expressive or assured.
    • 49 Metascore
    • 75 David Sterritt
    It's an impressive movie, pointing to Howard as a promising new director.
    • 65 Metascore
    • 75 David Sterritt
    Comically grotesque, strikingly filmed.
    • 72 Metascore
    • 75 David Sterritt
    The cinematography is gorgeous from first frame to last, but the story occasionally rings false.
    • 78 Metascore
    • 75 David Sterritt
    Morton acts up a storm, and Ramsay continues her rise as England's hottest young female filmmaker.
    • 75 Metascore
    • 75 David Sterritt
    Belvaux tells this seamy story with great energy, and gives an all-stops-out performance in the leading role. Also fine are Catherine Frot as Bruno's former girlfriend and Dominique Blanc as the addict.
    • 67 Metascore
    • 75 David Sterritt
    Bridges is fun to watch, Fanning emerges as Hollywood's best 6-year-old actress, and Rogers's talents are wasted. A likable drama within its limitations.
    • 76 Metascore
    • 75 David Sterritt
    A mixed package, but often fun to watch.
    • 74 Metascore
    • 75 David Sterritt
    The acting and screenplay are amusing, but director Sitch might have taken a more adventurous approach to a tale with such an adventurous subject.
    • 70 Metascore
    • 75 David Sterritt
    Entertaining documentary about stuntwomen who do risky business for a living.
    • 55 Metascore
    • 75 David Sterritt
    Yes
    The results are visually striking, but conceptually they oscillate between poetic, pretentious, and philosophically dubious.
    • 83 Metascore
    • 75 David Sterritt
    At once sympathetic and unsentimental, this is a model of low-budget storytelling on a human scale.
    • 55 Metascore
    • 75 David Sterritt
    Vigorously directed by Joel Schumacher, the film is closer to a suspense thriller than a journalistic report.
    • 61 Metascore
    • 75 David Sterritt
    They vary enormously in style, quality, and ideas, but the best of them -- by Gitai, Chahine, and Iñárritu, among others -- pack an enormous emotional and intellectual punch.
    • 45 Metascore
    • 75 David Sterritt
    Strong acting and smartly tuned-in directing turn a run-of-the-mill detective story into a striking, sometimes harrowing blend of horror and suspense.
    • 39 Metascore
    • 75 David Sterritt
    The movie is lively, funny, and endearing until melodramatics and sentimentality take over in the last few scenes.
    • 78 Metascore
    • 75 David Sterritt
    This capably made HBO documentary takes an understated and compassionate look at a subject that is often sensationalized in other contexts.
    • 73 Metascore
    • 75 David Sterritt
    Poignant, spirited, revealing.
    • 75 Metascore
    • 75 David Sterritt
    Mamet's screenplay is full of savvy satire and the cast couldn't be better.
    • 65 Metascore
    • 75 David Sterritt
    Isn't glossy, but it has a thought-provoking mix of skepticism, hopefulness, and respect for all but its most scurrilous characters. Hollywood could learn from its canny blending of psychological and multicultural insights.
    • 64 Metascore
    • 75 David Sterritt
    An enjoyable movie that marks a rattling good directorial debut for Stephen Fry, the English actor who's best known for starring in "Wilde" seven years ago.
    • 61 Metascore
    • 75 David Sterritt
    Bale is brilliant.
    • 74 Metascore
    • 75 David Sterritt
    As mysterious as it is sinister.
    • 78 Metascore
    • 75 David Sterritt
    The movie's cutest twist is that the monsters are more scared of kids than kids are of them, because they think human children are toxic.
    • 69 Metascore
    • 75 David Sterritt
    A refreshingly novel ride.
    • 60 Metascore
    • 75 David Sterritt
    Suicides are proliferating in the city -- is the song to blame, or is it the tenor of the times?
    • 73 Metascore
    • 75 David Sterritt
    The drama is a gentle, witty parable of the mixed feelings some people show toward free choice when it confronts them not in theory but in everyday life.
    • 60 Metascore
    • 75 David Sterritt
    This is more than enough material for two hours of summer-movie fun, and The X-Files delivers said fun reasonably well. The action scenes are bigger and bolder than their small-screen counterparts.
    • 63 Metascore
    • 75 David Sterritt
    The movie is more a family album than a historical study, but you'll learn a lot and your toe will tap, tap, tap.
    • 71 Metascore
    • 75 David Sterritt
    The fact-based story is so riveting and revealing that the filmmakers needn't have used melodramatic formulas to boost its impact.
    • 73 Metascore
    • 75 David Sterritt
    It's one of the season's most original and energetic movies.
    • 85 Metascore
    • 75 David Sterritt
    Politics and humanism find an engrossing balance in this ambitious drama based on the life of Reinaldo Arenas, a gay Cuban poet who was persecuted by the homophobic Castro regime.
    • 64 Metascore
    • 75 David Sterritt
    Just loopy enough to be tantalizing, involving, and fun.
    • 52 Metascore
    • 75 David Sterritt
    At a time when screen comedy has its own problems with anger management, Sandler's self-possessed style is as refreshing as it is funny.
    • 57 Metascore
    • 75 David Sterritt
    One of Hollywood's bloodiest and goofiest adaptations.
    • 69 Metascore
    • 75 David Sterritt
    One of the most violent films this year, it's no more so than many of the Asian kung fu flicks it pays homage to. Don't be surprised if it slaughters its action-film competition in this overcrowded movie season.
    • 52 Metascore
    • 75 David Sterritt
    But there's no denying the movie's frequent hilarity, abetted by Mel Smith's superbly laid-back directing and on-target performances by an excellent supporting cast.
    • 78 Metascore
    • 75 David Sterritt
    Why does affection sometimes grow between people who seem to have little or nothing in common? That's the tantalizing question running through this capably acted comedy-drama
    • 77 Metascore
    • 75 David Sterritt
    Reissued with the addition of 50 minutes trimmed from the original 1980 cut, Fuller's only A-budget movie is still among the lesser works of this frequently brilliant filmmaker.
    • 70 Metascore
    • 75 David Sterritt
    Lively, gentle, smart.
    • 49 Metascore
    • 75 David Sterritt
    Thanks to director Zucker, this is by far the best installment yet -- there's less bathroom humor and more "Airplane!"-type lunacy.
    • 67 Metascore
    • 75 David Sterritt
    The acting is uneven, but Huston's performance gains eerie intensity as the tale moves from sensationalistic melodrama to humanistic tragedy.
    • 66 Metascore
    • 75 David Sterritt
    There's some very funny dialogue, but the picture falls apart when it tries to think real thoughts about celebrity, publicity, and the media.
    • 50 Metascore
    • 75 David Sterritt
    Old-style animation slows down after a snappy start, but it's lively enough to keep kids from fidgeting too much.
    • 74 Metascore
    • 75 David Sterritt
    Bardem is brilliant.
    • 57 Metascore
    • 75 David Sterritt
    A romantic kung-fu comedy with a good heart.
    • 52 Metascore
    • 75 David Sterritt
    Merchant brings keen insight and rich humanity to this culturally revealing tale of psychological unease in a tense postcolonial world.
    • 59 Metascore
    • 75 David Sterritt
    Lots of lively tunes and spirited acting.
    • 65 Metascore
    • 75 David Sterritt
    The coach is certainly an offensive goofball, and the Bears are certainly a pack of hard-to-handle whippersnappers. But the picture's point is that surfaces don't tell the whole story about people, about teams, or about anything.
    • 62 Metascore
    • 75 David Sterritt
    Kathy Bates gives her most gripping performance since "Misery," also based on a Stephen King thriller. The picture is weakened by a rambling and inconsistent screenplay.
    • 76 Metascore
    • 75 David Sterritt
    The acting is excellent.
    • 53 Metascore
    • 75 David Sterritt
    Maybe the movie does so much dawdling and meandering so we'll have more time to bask in their presence; in any case, the otherwise pleasant picture uses up its ideas long before it uses up its running time.
    • 46 Metascore
    • 75 David Sterritt
    One of the season's most watchable treats.
    • 79 Metascore
    • 75 David Sterritt
    De Felitta dodges the temptations of sentiment and preachiness.
    • 86 Metascore
    • 75 David Sterritt
    Unexpectedly subtle cinematic style.
    • 65 Metascore
    • 75 David Sterritt
    You may find the film as outrageous as it is outlandish, and Bowery would have taken that as a compliment.
    • 73 Metascore
    • 75 David Sterritt
    The acting is amiable and the story is crisply told.
    • 81 Metascore
    • 75 David Sterritt
    It will frustrate viewers who like stories to make instant sense, but fans of provocative puzzles will have mind-teasing fun.
    • 77 Metascore
    • 75 David Sterritt
    Ethan Hawke and Julie Delpy are attractive stars, but what's most appealing about the picture is the value it puts on sharing ideas and feelings through language.
    • 51 Metascore
    • 75 David Sterritt
    The willingness to blend professionals and nonprofessionals is Duvall's most interesting directorial trademark. Most commercial filmmakers hesitate to use this technique, but he doesn't see it as risky.
    • 71 Metascore
    • 75 David Sterritt
    Here's hoping other filmmakers will follow its spirit, if not all of its methods.
    • 44 Metascore
    • 75 David Sterritt
    Taylor is utterly believable even when the screenplay (from an Anne Tyler novel) is too self-consciously quirky, and Pearce nicely portrays the guy she obsesses over.
    • 62 Metascore
    • 75 David Sterritt
    A swiftly told, smartly acted yarn, and it even has an idea or two on its mind.
    • 83 Metascore
    • 75 David Sterritt
    Todd Solondz's movie begins like a suburban ugly-duckling tale with many comic overtones, but it grows darker as it goes along, evoking dangers that youngsters must be alert to in today's world - from drugs to child abuse - and showing how cruel children can be to one another when grownups aren't around.
    • 36 Metascore
    • 75 David Sterritt
    This visually intricate fantasia combines his (Greenaway's) extraordinary cinematic imagination with a story and characters less compelling than those in his best works.
    • 57 Metascore
    • 75 David Sterritt
    A wide range of concert and media clips lend vigor and variety to the documentary.
    • 75 Metascore
    • 75 David Sterritt
    Both a blood-churning war movie and a mind-stirring antiwar movie, focusing not on guts and glory but on the stark realities of real battlefield experience.
    • 70 Metascore
    • 75 David Sterritt
    The result is a fine production with splendid singing by Angela Gheorghiu, Ruggero Raimondi, and Roberto Alagna. It joins the very short list of first-rate opera films.
    • 77 Metascore
    • 75 David Sterritt
    This disturbing drama has many telling moments, but it ends with an out-of-the-blue shock episode that raises more questions than it answers.
    • 13 Metascore
    • 75 David Sterritt
    Be warned that the results are in aggressively awful taste from beginning to end.
    • 50 Metascore
    • 75 David Sterritt
    Solondz is a courageous social commentator and a canny provocateur at the same time. He'll never get to Hollywood if he stays on this track, but cinema will be a lot duller if he ever mends his incendiary ways.
    • 76 Metascore
    • 75 David Sterritt
    While it's often harsh in style and melancholy in subject, Kandahar taps into veins of humor and compassion as well.
    • 90 Metascore
    • 75 David Sterritt
    The story is so complicated that the movie can't quite make it clear, but the picture has impressive energy and high-intensity performances from Kevin Spacey, Danny DeVito, and Guy Pearce.
    • 36 Metascore
    • 75 David Sterritt
    Crammed with show-biz jokes that younger kids won't fathom, but the action is so quick and colorful that they probably won't mind.
    • 69 Metascore
    • 75 David Sterritt
    She emerges as an energetic, narcissistic, and totally self-deluded woman.
    • 61 Metascore
    • 75 David Sterritt
    If you don't compare it with the novel, it's one of the season's better films.
    • 79 Metascore
    • 75 David Sterritt
    The movie's style is fairly staid, but it's hard to imagine how Neeson could be better, and the subject is handled with taste and tact.
    • 41 Metascore
    • 75 David Sterritt
    The movie is very small in scale, but the performances are appealing and Fernandez's screenplay casts an interesting light on the main characters' self-images as Latina women.
    • 64 Metascore
    • 75 David Sterritt
    Redeemed by sensitive acting.
    • 66 Metascore
    • 75 David Sterritt
    The movie has nothing intelligent to say about post-cold-war tensions or anything else, but it's great fun to watch Gene Hackman and Denzel Washington square off in a submarine that looks like a cross between the Starship Enterprise and something you'd get in a cereal box.
    • 37 Metascore
    • 75 David Sterritt
    Coil up with a tub of popcorn, get a stranglehold on your soda - this is a creepy, action-packed boat ride down a jungle river with lots of huge snakes dropping by for man-sized snacks.
    • 55 Metascore
    • 75 David Sterritt
    The screenplay is overwrought at times, but the acting is superb by any standard.
    • 69 Metascore
    • 75 David Sterritt
    Slums of Beverly Hills is less a hard-edged exposé than a mood-shifting satire, though approaching its subject with a wryly ironic touch.
    • 46 Metascore
    • 75 David Sterritt
    Depp gives a smart, subtle performance, and Turturro is terrific as a foe who's both exactly what he seems and exactly the opposite. Koepp's makes his (literally) corny tricks seemfresh and surprising.
    • 63 Metascore
    • 75 David Sterritt
    A compassionate, life-affirming Spanish comedy-drama.
    • 79 Metascore
    • 75 David Sterritt
    An intense, claustrophobic drama of love and infidelity.
    • 68 Metascore
    • 75 David Sterritt
    The results are unsparingly perverse and oddly spellbinding.
    • 82 Metascore
    • 75 David Sterritt
    From its restlessly moving camera work to its heartfelt acting by a splendid cast, "Azkaban" is a horror movie for mature kids.
    • 70 Metascore
    • 75 David Sterritt
    Herzog soft-pedals his cinematic ingenuity in this personal documentary about his love-hate relationship with Kinski, whose performances in Herzog classics...helped both of them become towering figures on the international movie scene before Kinski's untimely death.
    • 72 Metascore
    • 75 David Sterritt
    The movie is strong in sound and fury, weak in nuance and insight.
    • 61 Metascore
    • 75 David Sterritt
    Lacks the subtle sense of mystery that distinguished E.B. White's lovely novel, but nicely conveys its playful spirit and amiable tone.
    • 74 Metascore
    • 75 David Sterritt
    While serving up music so free of thought that the best of it seems to crystallize our thoughtless, tightly wound era.
    • 63 Metascore
    • 75 David Sterritt
    No show-business tradition is sturdier than the two-man comedy team, and no contemporary stars are better suited to the format than Eddie Murphy and Martin Lawrence. Pairing them was a terrific idea.
    • 74 Metascore
    • 75 David Sterritt
    In this forthright screen version of E.M. Forster's posthumously published novel. Directed by James Ivory and produced by Ismail Merchant, who show the same literate skill and the same fidelity to their source that marked "A Room With a View."
    • 42 Metascore
    • 75 David Sterritt
    Bullock is cute. Grant is even cuter. They have the timing and panache of a first-rate comedy team.
    • 70 Metascore
    • 75 David Sterritt
    The story is silly, the acting is campy, the effects are amusingly tacky. A mildly entertaining romp that pokes refreshing fun at its own occasional violence.
    • 70 Metascore
    • 75 David Sterritt
    Striking an excellent balance between wry cultural critique and crisp entertainment value, the picture is as smart and funny as any comedy-drama in recent memory.
    • 83 Metascore
    • 75 David Sterritt
    Sometimes enticing, frequently savage.
    • 77 Metascore
    • 75 David Sterritt
    Its low-key charm shows that Dogma filmmakers have yet to run out of ideas.
    • 48 Metascore
    • 75 David Sterritt
    A lively portrait of contemporary painter George Condo.
    • 60 Metascore
    • 75 David Sterritt
    Lively acting and good-natured feminism lift this lightweight comedy a notch above the norm.
    • 61 Metascore
    • 75 David Sterritt
    Ronald Harwood's screenplay, based on his stage play, brings an impressive range of moral and political issues into play. The acting is also strong.
    • 49 Metascore
    • 75 David Sterritt
    The Four Feathers ends on the same dubious note as "Black Hawk Down" and other recent war movies, suggesting that loyalty in the trenches -- not the reason for fighting in the first place -- is all that matters. Many will disagree.
    • 40 Metascore
    • 75 David Sterritt
    This unevenly paced comedy is an amusing parody of monster movies from "Them!" to "Alien."
    • 52 Metascore
    • 75 David Sterritt
    The real heroes are cinematographer Stephen H. Burum and editor Bill Pankow, who help the picture keep popping even when its plot and dialogue go into a slump.
    • 69 Metascore
    • 75 David Sterritt
    The movie is longer and slower than necessary, but it explores interesting questions of wartime violence, personal integrity, and what it means to come of age in a society ripping apart at the seams.
    • 94 Metascore
    • 75 David Sterritt
    Too intense for the youngest viewers, but teenagers will enjoy it -- an ill-smelling "stink-god" character is almost worthy of a Kevin Smith gross-out movie -- and grown-ups should find it diverting, if not exactly deep.
    • 71 Metascore
    • 75 David Sterritt
    Poignant, witty, historically illuminating.
    • 59 Metascore
    • 75 David Sterritt
    There are endearing and powerful moments which thankfully overshadow the occasional clichéd passages.
    • 66 Metascore
    • 75 David Sterritt
    There's hardly an original shot in the picture, and the screenplay ignores all opportunities to explore the patterns of poverty and racism that contribute to mob behavior. [22 Apr 1988]
    • Christian Science Monitor
    • 51 Metascore
    • 75 David Sterritt
    No masterpiece, but that shouldn't dissuade moviegoers from giving it a whirl as a flavorful alternative to the summer's more gimmicky fare.
    • 73 Metascore
    • 75 David Sterritt
    Even if baseball isn't your favorite sport, or if you don't like sports much at all, you'll find something to catch your attention in this smartly made (if unblushingly vulgar) new comedy. [7 July 1988]
    • Christian Science Monitor
    • 53 Metascore
    • 75 David Sterritt
    The film's power grows from its dark-toned portrayal of the World War II era and from its evocative use of flashbacks, which show more interest in the characters' emotional lives than in story devices like surprise and suspense.
    • 66 Metascore
    • 75 David Sterritt
    While the movie is strong on the history of its subject, it allows some yawns to enter its own account of a big, heavily hyped tournament. Still, it's very entertaining.
    • 38 Metascore
    • 75 David Sterritt
    If you're in the mood for razor-sharp satire, this is the most refreshingly outrageous movie of the season.
    • 80 Metascore
    • 75 David Sterritt
    The performances are engaging and the views of rural Brazil are captivating, making the film a solid audience-pleaser even though its story often seems familiar and sentimental.
    • 27 Metascore
    • 75 David Sterritt
    Admirers of "Do Androids Dream of Electric Sheep?" and other Dick literature will enjoy this nonfiction look at the writer, his career, and his eccentricities, some of which were as bizarre as his fiction.
    • 75 Metascore
    • 75 David Sterritt
    Kennedy documents their efforts with skill and compassion, almost entirely avoiding the pitfalls of sentimentality and victimology. He and his likable "cast" deserve a standing ovation.
    • 43 Metascore
    • 75 David Sterritt
    Harrelson hits just the right sardonic note in this self-mocking crime drama, but look out for grisly touches along the way.
    • 75 Metascore
    • 75 David Sterritt
    Hodges and screenwriter Paul Mayersberg fill the British production with Dostoevskian ironies, and Owen is perfect as the antihero.
    • 72 Metascore
    • 75 David Sterritt
    A fascinating glimpse of family love and rivalry, if not a deep-digging documentary of "My Architect" quality.
    • 61 Metascore
    • 75 David Sterritt
    Dance's directorial debut isn't exciting, but it's deeply felt and engagingly acted. Why doesn't he take more advantage of the story's opportunities for fine music, though?
    • 66 Metascore
    • 75 David Sterritt
    While it's not a blistering look behind the scenes, Last Dance gives a fuller picture of the creative process than most others of its ilk.
    • 85 Metascore
    • 75 David Sterritt
    Full of bright colors, offbeat people, tuneful sounds.
    • 78 Metascore
    • 75 David Sterritt
    A stirring documentary, and would be more so if it focused more on social problems than on Briski's own work.
    • 78 Metascore
    • 75 David Sterritt
    The story sometimes seems hesitant to confront the most harrowing implications of the harsh realities it portrays. But it benefits greatly from Syed's close-to-the-bone performance as the boy.
    • 73 Metascore
    • 75 David Sterritt
    It marks a new artistic peak for director James Ivory, producer Ismail Merchant, and writer Ruth Prawer Jhabvala.
    • 68 Metascore
    • 75 David Sterritt
    The movie peaks about halfway through, when town officials try to stop Perry from revealing what's going on.
    • 49 Metascore
    • 75 David Sterritt
    Lounguine tells the story with more discipline than you'll find in his earlier films, painting a crowded portrait of a society moving toward a future it can neither confidently predict nor look forward to with anything but nervous anticipation.
    • 59 Metascore
    • 75 David Sterritt
    The story suggests a more violent "Seven Samurai," full of jungle mayhem and eloquently filmed action-movie suspense.
    • 63 Metascore
    • 75 David Sterritt
    Taking great artistic chances in storytelling and performance style, Green finally fulfills the promise he showed in his fine 2000 drama "George Washington" as a terrific builder of mood, atmosphere, and psychological suspense.
    • 70 Metascore
    • 75 David Sterritt
    Altman is one of very few directors who could have assembled such a superb ensemble, and he makes the most of it from first scene to last.
    • 47 Metascore
    • 75 David Sterritt
    Figgis still deserves credit for taking more artistic chances than a dozen ordinary directors.
    • 60 Metascore
    • 75 David Sterritt
    Unusual and imaginative drama.
    • 66 Metascore
    • 75 David Sterritt
    On one level, it's an unsettling biopic and an acerbic look at a bygone media age. On another, it's a cautionary tale with uncommon relevance and bite.
    • 76 Metascore
    • 75 David Sterritt
    Longer than necessary, that is, for the story it has to tell. This flaw aside, the drama is well crafted and sometimes touching, with especially forceful opening scenes.
    • 72 Metascore
    • 75 David Sterritt
    Suffers from touches of sentimentality in its last portion -- Many viewers may welcome this last-minute brightening, though. If so, All or Nothing could join "Topsy Turvy" and "Secrets & Lies" as one of Leigh's most widely enjoyed recent films.
    • 68 Metascore
    • 75 David Sterritt
    The account is highly informative, although it would come across more vividly if there were fewer talking heads and longer stretches of archival footage.
    • 83 Metascore
    • 75 David Sterritt
    A fascinating account, if less urgently compelling than it might have been.
    • 47 Metascore
    • 75 David Sterritt
    Quite appealing, thanks to good-humored acting and to Martha Coolidge's quiet directing style. She lets romance and comedy bubble up from the characters instead of imposing gimmicky twists on the story.
    • 45 Metascore
    • 75 David Sterritt
    Much of the style strains too hard to be cute, but true romantics may shed copious tears of sympathy and empathy.
    • 59 Metascore
    • 75 David Sterritt
    Superbly acted.
    • 46 Metascore
    • 75 David Sterritt
    Carrey is excellent, making the most of his comic gifts even in a cumbersome Grinch outfit, and the eye-spinning color scheme is dazzling to behold.
    • 86 Metascore
    • 75 David Sterritt
    Swank gives one of the year's most complex and hard-hitting performances in the demanding central role.
    • 53 Metascore
    • 75 David Sterritt
    If you're not in the mood for "The Texas Chain Saw Massacre" meets "Last House on the Left," stay very far away. Horror fans will find what they're looking for, though.
    • 70 Metascore
    • 75 David Sterritt
    The characters are so convincing and the mood so light and flaky that it's hard not to find it a delicious little hors d'oeuvre of a movie.
    • 55 Metascore
    • 75 David Sterritt
    Smart and surprising.
    • 69 Metascore
    • 75 David Sterritt
    The movie doesn't have much more get-up-and-go than the characters, but solid performances and richly textured camera work keep it involving most of the way through.
    • 81 Metascore
    • 75 David Sterritt
    The movie's intentions are as serious and thoughtful as its content is timely and sometimes horrifying. For adventurous viewers only.
    • 65 Metascore
    • 75 David Sterritt
    This doesn't mean Maelström is for everyone. It's a strange and quirky yarn, moving between deceptively calm scenes and episodes as tempestuous as its title.
    • 58 Metascore
    • 75 David Sterritt
    To its credit, the movie has as little patience for nonessential nonsense as the women it portrays.

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