Movie-style romance may never look quite the same. Neither will flower petals.

The rock scene hasn't been the same since this hilarious 1984 comedy.

Anderson fulfills the promise of his inventive "Bottle Rocket" with this quirky, often hilarious comedy, and Murray gives his most uproarious performance since the groundbreaking "Groundhog Day."

What makes the film stunning is less its metaphorical scheme than its cinematic style. Always a matter of flowing camera movement, Kubrick has photographed much of the action with long "traveling shots" that capture time and space as a seamless whole, not fractured into the bits and pieces of standard editing techniques. [26 June 1987]

A mix of war film, road movie, and romantic comedy-drama, this peripatetic yarn is less resonant than Ghobadi's beautiful "A Time for Drunken Horses," but it has enough energy to keep your eyes popping and your toes tapping.

Pinter's screenplay offers an exciting mixture of psychological suspense and storytelling surprise, and the lead performances are close to flawless.

The movie should fascinate anyone interested in politics, publishing, and the uneasy marriage between big money and mass communication.

It combines a fresh and exciting style with stunning performances and that rarity in current film, a deeply humanistic story.

The drama's elegant structure, which takes you through a series of surprises so smoothly and logically that it might be over before you realize you've seen one of the new year's most intriguing, intelligent movies.

Cary Elwes is marvelously funny as the hero. [25 Sept 1987]

Kaurismaki is Finland's greatest filmmaker, and never has he more artfully balanced his patented blend of deadpan humor, low-key melodrama, and toe-tapping music.

Rarely does a movie combine so much genuine human drama with such vivid exemplifications of "identity politics" and other sociocultural issues.

Rollicking documentary that will have your toes tapping and your ears sizzling whether you're a die-hard Motown fan or not.

This is the kind of movie that literate viewers pine for, laced with gracefulness and wit.

The movie is flawed by implausible psychology and moments of weak acting. But it's more than redeemed by Lee's passionate ideas about America today.

Hoffman's acting is poignant and compassionate, etching a profoundly sad character with no trace of compromise, and Bates gives one of her most controlled performances ever.

Miller shows terrific talent as a director with a sharp eye for images, a keen ear for dialogue, and a refreshing willingness to take storytelling risks.

It's illuminating and nostalgic and for anyone who lined up for American movies in that bygone golden age.

Easily the best American film so far this year, Far From Heaven is close to perfect.

Excellent acting, intelligent screenwriting, and dynamic filmmaking give this Mexican production a forceful emotional and intellectual charge.

Kidman, Moore, and Streep do some of their best work, backed by a first-rank supporting cast.

Arguably the subtlest, most carefully textured film of Cronenberg's career.

Berri lets the story develop in a leisurely and organic way, capping it with a last scene that's subtle and satisfying. Jean-Pierre Bacri is just right as the man and Emilie Dequenne is perfect as the maid.

Written and directed by a brilliant screen artist at the peak of his powers, it's an utterly original comedy-drama.

A smart and scary voyage into the uncanny realm where hard realities,mind-spinning myths, and hallucinatory visions blur.

The movie elegantly mingles drama, comedy, and low-key spiritual resonance. It also has a splendid cast.

Smart, funny, and splendidly acted.

First and foremost a very funny film, and a very pleasant one that doesn't really have a villain. Credit for its hilarity goes largely to Black, who gives the performance of his career as a character who might have seemed merely coarse and crude in less gifted hands.