No situation could be more human, and it's one the youth-dominated film industry rarely touches.

It's fast, easy on the eyes, full of funny putdowns and cast well enough to have two memorable villains.

This is economy of style that Americans get only in Woody Allen movies -- and even that's not a guarantee.

The actress may get an Oscar nomination for the wrong movie -- "Moulin Rouge" over "The Others" -- but it would be a double misfortune for audiences to overlook a performance that boosts its movie from moderate to memorable.

The five stories in The Five Senses flawlessly and even artfully create a unified mood.

Shouldn't be overrated, but it's the first film of the year - and it's mid-February already - capable of keeping a grown-up awake.

Compellingly watchable horror-spectacle.

There isn't any kind of dance you can compare to Robert Duvall's latest as an actor/director, though a slo-mo minuet might come close.

The movie wouldn't be imaginable without its commanding star. Nicholson is in virtually every scene underplaying to great effect

One can't underestimate the appeal of any movie constructed around Sean Connery's charm.

A chilly oddball that's easier to admire than love.

Brosnan and Rush are a smooth fit, playing off each other like a snappy shirt and tie.

The No. 1 thing Only the Strong Survive will have to survive is being overshadowed by "Standing in the Shadows of Motown." Less focused than last fall's slam-dunk Funk remembrance, Survive is a more modest soul review.

I enjoyed everything about Moonstruck except for its meandering mid-section. On cassette, with vino accompaniment, it may seem perfect. In theaters, with a diet drink, it still rates as the holiday sleeper. [18 Dec 1987]

Recalls the pumped-up energy of "Pump Up the Volume," as well as its casting prowess.

As a forum for its actors and for the big-screen directorial debut of multi-Emmy winner Gregory Hoblit, the film is up to the job.

This one looks like a sure bet for seven weeks (at least) of audience good fortune.

When have we seen the same performer playing both parts in a sexual situation? It happens here, not once but twice.

Two films in one: an intriguing child-disappearance mystery and an uncommonly affecting domestic drama realized by four terrific central performances.

As a successful careerist who tries purging his neuroses in a coin-operated batting cage, Crystal is funny enough to keep Ryan from all-out stealing the film. She, though, is smashing in an eye-opening performance, another tribute to Reiner's flair with actors. [12 July 1989, Life, p.1D]

An unusually knowing movie from filmmakers of any age, both in its coldly clinical viewpoint and assured filmmaking style that even puts fresh spin on a routine police interrogation. [26 May 1993, Life, p.8D]

Once this 2 1/4-hour slow-starter finally finds its rhythm, we're reminded of how gripping policy give-and-take around a long rectangular table can be.

With a little sex, some mystery, a little sex, an appealing title and a little sex, France's Swimming Pool has what it takes to become an art house audience magnet, especially amid the heat of summer.

A good little movie dominated by a great central performance that's likely to endure. [30 Jan 1998, p.D2]

Even when there are lulls, the emotions seem authentic.

Imagine: a pseudo-intellectual baseball fantasy loaded up, like a spitter, with seductive sentiment. You can distrust the mix, but still like the movie - and I do. [21 Apr 1989, Life, p.D1]

The story itself is surprisingly seamless, yet it's the individual components that linger.

This movie will remind a lot of people of John Ford's masterpiece, "The Searchers," without the rowdy humor and, yes, without the greatness. But it's an admirably solid effort that's as mean as it has to be, which is plenty.