Well-knit, generally lucid documentary.

Crowe is, in his unique way, astonishing. Even at his biggest moments he seems both convincing and somewhat reticent.

Unusually for a soap-bubble film, Après Vous runs almost two hours and very nearly sustains its length. Five minutes of condensation toward the end would have benefited it. But Salvadori floats everything, hammers nothing, and gets maximum buoyancy out of Camille Bazbaz's jaunty music.

The fact that Pitt and Jolie have not been associated with this type of action is something of a help, but what was needed was the off-balance tickle that--to fantasize--Cary Grant and Rosalind Russell would have given it.

The film is emotionally and visually sustained, so it is pleasant.

The screenplay of Saraband feels concocted, not absorbed from life in sense and soul like so much of Bergman's work.

In the leading role Michael Pitt is neither good nor less than good. He simply mopes along druggedly for the film's ninety-seven minutes. Van Sant's inculcation of this non-performance is clearly part of his dogged negativism, his intent to purge his film.

What fascinates is, first, that these comics treat the joke the way jazz musicians might treat a theme that each of them plays differently; and, second, that the passage of this joke from one comic to another is like the bonding of a profession.

Not many of us, I think, would want to see many films made this way, possibly not one more, but this one is an intriguing glance at the director-as-god, deigning to treat human frailty with imperial sway, assuming that his art justifies this slender material.

To play for an audience of one that is only a few feet away is different in concentration and shade from playing in the theater, and Madden, though the script lags a bit, has nonetheless helped his actors to render what were once theater scenes as film sequences.

A bit scattery, but it simmers with Shicoff's intensity in lending his faith and being to the role.

A slight conceptual nudge and Capote would have focused on (as the closing line tells us) its true subject: an American author's success story. That theme is there, all right, but because it is not centered it is repellent, as the film pretends to be an account of the author's descent into collateral agony...With the true theme of fame-hunger fully fashioned, the film would have been a more authentic American epic.

All four of the roles are written with pungency. There is even an implication that the two adults realize the triteness of the situation and that they--the characters, not Baumbach--want to speak from inner sources, not from a script. Baumbach pulls this off with some sting and wit.

But the contrast between setting and story isn't all that bars North Country from fulfillment. The major trouble is Theron. She plays Josey as well as is needed, but she is simply too beautiful.

But the best of the story is that there isn't much--as such. A slice of living is put before us. Some things happen. That's all.

The picture has enough good feeling and chuckle to take it out of the parochial.

The Oxford English Dictionary says that an allegory is "an extended or continued metaphor." And to think that this definition was coined when a French film called Innocence was still very far in the future! But how aptly this film proves the point.

The present film-makers have retained the essences of the plot and characters but have moved the ambience toward the next stylistic era, romanticism.

This multiplicity--of people, stories, settings--is both the weakness and strength of the film. It is not easy to follow all the various threads, to get the pith of every scene. Still, this very abundance gives the whole picture a sense of authority.

The real success of Duncan Tucker, who wrote and directed this debut feature, is that, through credible dialogue and sensitive performances, the basic idea overcomes its cleverness and is affecting.

One aspect certainly is remarkable. The dialogue is, at least to an American ear, authentic. Allen doesn't mention any aid on the script, so we are to assume that he wrote it himself.

As with much art of our time--music, painting, sculpture, theater--Caché in a certain way affronts us. Its deliberate contravention of our expectations, and not necessarily stodgy expectations, is part of its intent.

Here is a film that carries within itself not only the parody but the very material it exploits and subverts. [05 Sept 1994 Pg. 34]

Russell wants us to feel the itch of familiarity: it's part of his tonal plan. And he survives this structural hazard because he casts all the roles so well and gives his actors dialogue as fresh as the familiar situations would permit. [01 Aug 1994 Pg. 28]

Jarecki says that his film doesn't precisely answer the question in his title. He is mistaken.

Sophie Scholl is not as devastatingly moving as "The White Rose," but it, too, evokes awe in lesser beings.

The cast is so good that a kind of counterpoint arises between the riskily lachrymose story and the firm verity of the acting.

It has long been clear that Shepard is a rare double talent. He has flourished, rightly, as a playwright, and he is also a compelling film actor. His face does more for the reality of this picture than anything he wrote in the script.

Harron's work here is unclear in its theme or purpose. Was she showing how a woman managed to find a woman's way to success in a man's world? Was Harron interested in Page's delusion about what she was doing? Or did she want to scoff implicitly at the customers who made Page's career possible? We are left wondering.

Ford would probably have grumbled about some things in this picture--some moments of confusion about who is who--but he might have been pleased to see that his influence, so marked in many countries' films, had reached China and Tibet.

Whatever the plot, it is soothing to be in the company of Fanny Ardant, who plays Catherine and whose twenty-five-year career is dotted with small treasures.

Whatever the outcome of all this hugger-mugger, as yet unresolved, Stolen gives us hints about a special sort of muscle.

To see the flight captain and co-pilot checking the plane before takeoff, to watch the varied passengers settling into their seats, is more agonizing than watching passengers board the ship in all those "Titanic" films. With United 93 we see these people unknowingly stepping into a history that is still in terrible process. But as a work in (let's call it) the Akhmatova mode, it does not and could not succeed.

If only Cantet and Robin Campillo (who based their screenplay on stories by Dany Lafèrriere) had balanced the sexual and political elements more acutely, the result could have been searing.

So much of this adaptation is engrossing that the script's additions are jarring.

Stone has concentrated on one of the catastrophe's stories and has fashioned it well--with almost palpable physical detail, and with performances that never sink to exploitation.

Embedded here in a culture of formalities, with some of the arcs and gestures of that culture, it almost becomes an opera of its own.

Especially in the moving moments, this film prods us into a kind of reproof. Kushner is now fifty, a prime writing age, and we want more.

McGrath says that he considers his film to be lighter in tone than TC 1, which is baffling. The reverse seems the case.

Admittedly, the setting does heighten interest, but this film is much more than an ideational travelogue.

This film is a valuable signet of Wilson's carefully articulated independence.

At the last, despite the modern touches in Bennett's screenplay, The History Boys fills the traditional bill. Wellington would probably not be too upset by it. Eventually it tells us that Waterloo is still in pretty good hands.

Burman is particularly good at the tiny details that become recognition points in daily patterns.

Melancholy but enjoyable.

It is the two leading performances that make the film seem almost to reach down and embrace us.

The dialogue is bright, historically styled yet lithe; the characterizations are graphic even with minor people.

The picture tries hard for addictive mystery, but it is full of scenes that promise insight and don't deliver.

A story that is still healthfully discomfiting to remember.

Entertaining though The Hoax is, the film that I imagined before I saw it was better.

The chief pleasure in the picture (set in Los Angeles) is in watching Hopkins spin off another of his nutty self-possessed intellectual criminals--this time it's Hannibal Lecter lite.

And Jesus Ochoa, the veteran actor who plays Diego, makes us jealous of Mexico. How easily powerful he is, how complex without pretense.

Eastwood has never seemed less the persona he has built through the decades, the calm yet commanding center of a storm.

The result is not a quilt, just a succession of story snippets that keep interrupting one another.

More amusing than exciting. [19 June 1989, p.28]

Many sequences, many moments, are turned skillfully, and the look of the film is much of the time breathtaking. Yet, for its entire two hours and fifteen minutes, we merely watch it. It is there. We are here, regrettably objective.

The gem in this rag pile is Cameron Diaz as Mary: quick, witty, pretty, warm. There is something about Mary. [17 Aug 1998]

The Hughes brothers' directing compensates a good bit for the story's predictability. [5 July 1993, p.26]

Bonham Carter is like an undergraduate in a university production who seems rather good considering that her performance is only an intelligent diversion while she prepares herself for a career in another field. [24 Mar 1986]

The film is merely a succession of odd events. But those events are interesting, and the texture of the village's life is full-fashioned.

The results make poor old King Kong look like something from a Macy's Thanksgiving Day parade. Such is progress. [12 July 1993, p.26]

The flaw that separates Scorsese's film into its components is its lack of a crystallized theme.

The pace is fairly hectic, which it needs to be. (Mustn't linger on bubbles.) The performances are warm, especially the tender Judith Godrèche as the doctor's wife.

May Ozon and Rampling do more at the level of this film's first hour. Or maybe they could amputate the last part of Swimming Pool and finish the film as it deserves.

What matters much more than the story or the Spicy Stuff is the dancing, the show-biz dancing. It's electric. Exciting. And there's lots of it. [23 Oct 1995]

Little more than the distended first half of a twisty, dark "Law & Order" script.

Though there is plenty of action, particularly at the start and at the end with two blasting sea battles, much of the film is not sufficiently interesting.

At least we have the chance to see Sharif again, with our memory of the sun behind him, even though this film is not much more than a sweetmeat--Turkish delight.

The film might be called a moral travelogue. Instead of showing us mosques and tourist spots in beguiling old Istanbul, it follows a couple of ordinary Turkish men in drab surroundings and affirms that they breathe the same doubt-laden air as much of the rest of the world.

The overall effect of the film is melancholy: it seems desperate for the past.

Mamet's understanding of the essentials here and his skill in supplying them are not major achievements for him, but it would be wasteful not to recognize them. Spartan is another feather, though a small one, in his cap.

Flies into the improbable at its big moments. [17 Mar 1997, p. 28]

A pretty good thriller for the first forty minutes or so. [25 Aug 1997, p. 24]

Eloy de la Iglesia, who directed Bulgarian Lovers, has a light and witty touch, reminiscent of his countryman Pedro Almodóvar...But he needed a better screenplay.

It is easy to point out gaps in Noujaim's account. (What, for instance, about the rebuilding that tries to go forward in Iraq?) But the prime importance of this film, I'd say, is that it is not an eye-opener. Of course this change in reporting, this bilateralism, has occurred so far only in wars where the U.S. was the overwhelming superior in force.

All the actors caught me up so warmly that I stopped feeling guilty about liking this corny picture. [28 April 1997, p.30]

This same film, shot for shot, line for line, could have been much more solid and engrossing, much farther up the Parnassian slope, with a better actor as Hughes.

If we can watch this picture at all, it is because this universally admired person (Eastwood) is in it.

To Van Sant's credit, let's note that he has evoked more lightness and variety from Kidman, more scrimshaw gesture and inflection than I thought she could muster. [23 Oct 1995]

The film's title ought to be When We Were King's Pawns. Don King maximized the media circus aspects from the start, as the razzle-dazzle directing of Leon Gast, helped in the editing by Taylor Hackford and others, makes electrically clear.

The two leading actors in The Upside of Anger are so good that their performances, even more than the story they are in, keep us interested.

Mondovino is repetitious. The version that is being shown here runs 131 minutes and would be more effective with about twenty minutes of condensation.

Sternfeld not only deals empathically with his cast, he seems to know that his screenplay is not very novel or stirring; nonetheless, he wants to present these human beings in their skins, so to speak.

He has had a notable career, and I wish there had been more specifics about it in the film.

Why, then, is the picture chilling? Because it is a calm reminder of an inevitability. The sight of long lines of young women doing tiny bits of attachment work or packing hour after hour, day after day, is saddening.

The five episodes in Broken Flowers are good enough to make us expect that the picture has a theme, but it hasn't.

The story is multiplex and unclear.

None of the people in the film is realized as a character: Cronenberg has no interest in character. Each person is given a dab of characteristics and is then sent off to copulate. [21Apr1997 Pg 26]

Maggie Cheung, who was in Assayas's Irma Vep, plays Emily with a semi-detached feeling--observing the role as much as portraying it. The chief pleasure in the picture is Nick Nolte's performance as the boy's paternal grandfather.

As in all fiercely realistic thrillers, the action becomes less and less credible as it speeds on. But, as with some such thrillers, we tolerate the incredible as the price of the pulse-quickening.

Schreiber's directing is ambitious, but it is nowhere near the originality and truth in his acting. Throughout the film we can feel him striving to control, to invent, to glisten.

None of the actors completely satisfies.

The war is not scanted: the devastation and butchery are there. But the screenplay by Frank Cottell Boyce, based on a non-fiction account by Michael Nicholson, is thin, sentimental. [29Dec1997 Pg. 28]

I cannot remember a moment in this new film that compares, simply in directorial originality, to the work in "Schindler's List."

I hazard the guess that quite small children--pre-science fiction, pre-heroics--will enjoy its fairy-tale quality.

Holofcener, who studied film at Columbia and has directed shorts, gets some sprightliness into her writing but not much difference in characterization between the two women. [12 Aug 1996, Pg.26]

Well-photographed and adequately directed and acted, Iron Island is (painless) propaganda, informing us about domestic peace and goodwill. And this film, too, leaves us with a question: why does the currently aggressive Iran want the world, especially our chunk of it, to see what it is "really" like?

The film's trouble is in what happens in each section: not enough. Once the atmosphere of each period is established, the story is too weak to interest--and the characterizations are too thin to compensate.

What keeps us watching? Chiefly it is Edward Norton's performance as Harlan. It is hard to doubt his belief in everything he says, no matter how silly or dangerous it sounds.

Throughout we keep waiting for the real Almodóvar film, and it never arrives.

We are left finally with a double response: it is hard to know exactly why the film was made, what its emotional and thematic point is, yet we are glad it happened because of Harris's performance.

The picture is so suavely made that we don't feel disappointed until it is over: what chiefly holds us is the quality of the acting.

It is kept listenable--and watchable--because Bourdieu uses his knowledge of these people with winning ease. The story's conclusion verges on the grim, and it underscores Bourdieu's presumable theme: student life and talk are the last real vacations in many lives.

The real pleasure is in having a film that is like a box of assorted chocolates: you have the power to approve or not as you move through the variety, even though the bits are picked for you.

Haggis has made a safe picture. It is familiar enough that it slips easily into our film-watching faculty without any fuss, yet his handling of it--his muscular belief in what he is doing--makes us hope that his next screenplay will be a bit less safe.

A potentially stifling ambience is deflected by quiet suspense and the awe-inspiring compositions of the cinematographer, Clay Liford. Decaying rustic interiors evoke Andrew Wyeth still lifes; pastoral long shots suggest a Southwestern walkabout. And Mr. Lowery seems ready for a bigger canvas.

None of the film is exciting, and, despite the preeningly smooth flow of the story, little of it is interesting.

Lynn Redgrave is nearly incomprehensible as the housekeeper with some sort of housekeeperly accent. [Dec. 14, 1998]

Midnight Run is two films. One is a succession of bright, razor-edge, nutty dialogues between two men. The other is the plot that keeps them together, which is stale and full of boring violent-comic action. [29 Aug 1988]

To read a Carver collection is to walk through a gallery of beautifully formed objects. To blend his stories into "soup," no matter how smartly, to see them "as just one story," is to vandalize good art, to rationalize filmic opportunism as aesthetic principle. [25 Oct 1993]

The net effect of the incessant dazzle is depressing.

The Good Thief merely adds a new tinct to the pathos of Jordan's career. Once again we see a director who is better than anything he has so far done.

We can almost hear the way he (Keitel) will speak a line before he speaks it. The triteness of the role and its performance, instead of dramatizing the contrast between this philistine and the artist, makes the confrontation between the two men a smug setup.

What helps Pfeiffer most is the fact that though she is exceptionally pretty, she patently doesn't rely on her prettiness: she wants to act. But, with her Ellen, though we know what she means from moment to moment, we simply don't feel it... Winona Ryder is disastrously miscast. [18 Oct 1993, p.30]

Formally, Boyz is just one more old-time bad-neighborhood picture. Instead of, say, Manhattan's Lower East Side in Prohibition days, it's an LA lower-middle-class black neighborhood afflicted with drugs. And Singleton's control of his picture's flow is much less firm than was the other directors'. [2 Sept 1991]

Nicholson, one of the best actors in American screen history, is miscast again… He is quite visibly uncomfortable in his role. It needed an actor who could easily be viciously stuffy, like William Hurt. Nicholson struggles for the core of the man but never gets it. [Feb. 2, 1998]

But it is precisely with these contrapuntal strands of huge, timeless nature, of the complexity of every human mind, that Malick bloats his film into banality. [Jan. 25, 1999]

Jordan would like us to believe that the three films are stages in a metamorphosis, but the stitching shows… Part Two, explored and expanded, might have made a good film, especially since Davidson gives a quiet, knowledgeable, perfectly poised performance. [14 Dec 1992]

The disaster is John Malkovich in the key role of Valmont... From the moment he steps out of a carriage at the start, he walks and gestures like Malkovich. He has done nothing to bring himself to the part, not even bothering to learn how to pronounce "mademoiselle." ("Madam-uhzell," says M.) [2 Jan 1989, p.24]

The English Patient is excitingly promising. Then the screenplay goes rotten, like an overripe melon. [Dec. 9, 1996]

A new voyeurism has arisen in the last two decades or so, and Trainspotting caters to it--an addiction to addiction-watching. [August 19, 1996]

Scorsese's style, fierce as it is, doesn't accomplish what he clearly expected of it. Often, in many arts, fresh treatment can redeem familiar subjects, but it doesn't happen here. [Oct 22, 1990]

All in the cast are competent, and some of the slaughter scenes make us ache, but the overlaid material does not enrich, it impedes.

Two cheery notes: Nicolas Cage, as the erring brother, shows surprising signs of life, and Cher, as the erring fiancee, confounds those who swore she was a remote-control robot. [8 Feb 1988]

Cruise is becoming a real star, confident and gleaming. But neither he nor Hoffman nor the cleverness of the director, Barry Levinson, can prevail against a screenplay that has a beginning at the Ohio home, a finish in L.A., and nothing much in between. [9 Jan 1989]

One reasonably dependable pleasure in Woody Allen's films is that he uses old-time songs, in moderately jazzed-up versions, on his soundtracks.

Meyer's screenplay has been called unsuccessful, and I agree; but, without glossing some bumps that are his doing, I'd say that in this case the trouble with the screen adaptation is the novel.

Patently intended to be a serious exploration of a cultural encounter, but this intent withers through a lack of writers' gravity and a mass of action clichés.

The screenplay is schizoid. The first half is figuratively brassy, but then the violins begin to soar.

Still, it never quite realizes the oneiric quality because, paradoxically, of its best achievement--the performances of the two boys. They are vital, insistent. Their beings contradict the dreaminess and make us ask the questions mentioned above.

Combination of comedy and gravity is certainly common enough, but it requires a sure hand and perceptible intent. This screenplay has some neat touches, but it never makes up its mind.

The writer of Very Bad Things has done poorly by the director. This is particularly painful because they are the same person, Peter Berg. Director Berg shows lively talent, focused and controlled. Writer Berg shows some talent, too, but he is wobbly in design and purpose. [14 December 1998, p.26]

The best way to watch this film is while sipping coffee in a café. Nicotine optional.

Martin himself still seems to be filing in at run-throughs for the real star who couldn't make rehearsals. [11 March 1991, p.28]

Fahrenheit 9/11 is sometimes slipshod in its making and juvenile in its travesty, and of course it has no interest in overall fairness to Bush. But it vents an anger about this presidency that, as the film's ardent reception shows, seethes in very many of us.

The script is a tidy work of carpentry, in several time planes and with a tart finish. Tense moments abound, fights and shootings and near-drownings, but they seem items drawn from casework files. [5 Aug 1996, p.26]

Pappas's talking heads can't exactly solve the problem, but they help to keep us from forgetting it.

The director, Michael Mann, remembers the best of film noir pretty well, but it doesn't protect his film against its ultimate Movieland silliness.

The actors understand completely why they are there. The editing, complex because of several time strands, is more than skillful. But the screenplay by von Trotta and Pamela Katz suborns its subject.

It's sad to see two talented actresses, Rebecca de Mornay and Jennifer Jason Leigh, wasted in puppet parts. [17 June 1991, p.28]

Just a series of episodes: it has no trace of the structure that has supported drama and comedy for two millennia.

Leaves the viewer with the sense of a writing-directing talent concocting complexities. Everything he touches is well-turned, but he now feels compelled to put the pieces together in something other than a lucid design.

Everything falls into place, click click click. Like many a formulaic piece, this one engages a real theme--here it's the conflict between the concept of duty and the idea of the individual--and does little with it. [25 Jan 1993]

The trouble, which becomes quickly and oppressively apparent, is that the screenplay has no point except its plot. No theme, no intent of anything like Oliver Stone weight, is ever manifested.

The picture is too long. It repeats and repeats. Thirty minutes, instead of its eighty-six, could have told us all we need to know about the danger and tedium of these lives.

Both Wong and Soderbergh have understandably expressed their gratitude at, even in this tripartite way, being part of an Antonioni project... But Eros is better for what they contribute than for his work.

The picture's effect: the sexual element is trenchant, while the status of Muslim youth registers strongly.

Its very existence as a film sets up expectations that wouldn't exist within a book -- another reason I'd bet that there would be more pleasure in reading the screenplay. I can't remember ever thinking that previously about a film. (1998 May 23, p. 26)

The film is repetitious. Herzog has varied the original footage with some interviews that he conducted with a former Treadwell girlfriend and some other friends and observers. Still, an hour of it would have been more effective than the present feature length.

Candor about homosexuality is now so widely accepted as part of theater-film possibilities that plays and films offering not much more than such candor seem dated. In that sense Love! Valour! Compassion! is an important, if dull, milestone. [09Jun1997 Pg 30]

This sort of investigation has been done so masterfully by Sam Peckinpah in "The Wild Bunch" and Oliver Stone in "Natural Born Killers" that, in a sternly utilitarian sense, we don't need Cronenberg. He is not, as far as I have seen, in their class. He proves it again in A History of Violence.

Yet the McCarthy/Murrow conflict in the picture is not pressing enough--these days, anyway--to justify the considerable skill expended on it.

Come back, Jim Jarmusch. Come back to the pungency of your first films. Leave the 1970s. Come back to the future. [03 Jun 1996, Pg.30]

All these mystical elements are so sententiously handled and bump into one another so clumsily that they make the film seem nutty. But because spirituality is the theme of Bee Season, we are obviously not meant to laugh at it. Well, I wish I could get Jehovah's reaction to the picture.

This Jeffrey Hatcher-Kimberly Simi version, directed by Lasse Hallström, has a resemblance to some of Casanova's memoirs but is chiefly based on the assumption that, in a costume drama, anything goes.

Malick continues to float along the edge of the American film world as an unusually intelligent personage who occasionally delivers the fruit of his meditations. But his role as adjunct philosophe is better than the films he eventually gives us.

Less would have been more. Still, CSA has some laughs, most of them bitter.

We may indeed yawn a bit from time to time, but we know that we are yawning in the presence of a director who is intelligently disturbed by the moral inertia he sees around him and whose future is worth watching.

The danger in Hong's procedure is obvious. Dramatists learned long ago that it is risky to include a static character because he may so easily bore the audience.

[Douglas McGrath's] adaptation of the novel is as complete as two hours would allow. What it lacks texturally is what no adaptation could adequately supply: the gleam of the Austen prose. [19 Aug 1996, Pg.38]

Eastwood, who directed the picture adequately, is inadequate in this role. He has done a lot of impressive acting in films, but none of it has been sexually romantic, and the age of 64 was not the right time to take up that line of work. [03Jul1995, Pg. 26]

A moderately engaging satire, some of it amusing and some of it strained, but in considerable measure it reflects a strange circumstance in all our lives.

The screenplay is at the start far from lucid in setting forth characters and relationships and intents. And after the film has been barreling along for two hours of its 148-minute journey, it seems to have lost the ability to finish. Three or four times in the last half-hour, I thought the film was over, only to be jarred by more of it.

Despite the pictorial riches, despite the firm performances by Ray Winstone as the captain and Guy Pearce as Charlie Burns, despite the miraculous John Hurt in an eccentric role that was put in just for spice, The Proposition is hollow.

Only the onstage performing has moments of lift, particularly Keillor's diabolically homespun monologues and the cowboys with their risqué jokes that are reminders of such outhouse reading as Captain Billy's Whiz Bang.

The best performance comes from Stanley Tucci as the Runway art director. Tucci presents a homosexual man without a trace of cartoon--shrewd, skilled, and weathered without being worn. It is a well-judged and accomplished piece of work.

What the role needs, and what Macy cannot quite provide, is the sense not of a robot but of a potent man who has been imprisoned by rote. Remember Jack Nicholson in "About Schmidt."

We are meant to think about a society that revels in this moral pit. But all that puzzled me was why an audience would need a film to immerse it in wanton, speciously motivated death when the television news provides so much of it every day.

The film isn't dreadful: it is just generally disappointing.

Winslet is an actress, Diaz is not. The screenplay by Nancy Meyers, who directed, has dialogue that is not near the snap level of, say, Nicole Holofcener's comparable "Friends With Money."

The one attraction in the picture is DiCaprio's performance: easy yet strong, confident, humorous.

In short, this squad is an ill-trained, slovenly bunch of soldiers. That such behavior exists, or can exist, in any army is surely commonplace, but that Israeli producers should want to make a film about the matter at this time is puzzling.

The best performance, the only one that can really be called acting, is Diane Ladd's as the mother. Ladd gives us a woman full of self-pity and shrewdness, full of sexual experience and guile, who has now reached the age when, if she wants to, she can turn off sexual heat in favor of cold power drive. [24 Sept 1990, p.32]

Rogozhkin's hard, hands-on directing technique and the physicality of all three actors are--or could be--impressive, but they are swamped here in a sea of ideological mush.

Nelson's writing, as arranged by Simpson, adds absolutely nothing to our experience of September 11.

Malkovich has done considerable directing in the theater, but nothing in the acting here shows acuteness of choice or subtlety of touch.

What is outstandingly incredible are the high-flown pronouncements, including literary judgments, given suddenly to Costner. They make him sound like a dummy for Shelton the ventriloquist. [1 Aug 1988]

Little in [Connery's] character is explored or colored. It's not a highly complex role, but the man has qualities that could make him interesting; after all, it's his aberrant action that initiates the whole naval plot. Connery merely fulfills his contractual obligations to the producer-no depth in him at all. [26 Mar 1990, p.26]

The ghost is played by Patrick Swayze, who can't handle the part; his bereaved girlfriend, Demi Moore, is much better. [13 Aug 1990, p.30]

We become so distracted by the jigsaw effect that soon we are more concerned with the assemblage itself than with what it is about.

The picture as a whole lacks the energy and incisiveness --the sheer anger-- that have marked Costa-Gavras's best films. A pity, because it is a true Costa-Gavras subject.

Soderbergh, the writer and director, has slowed his metronome almost to a crawl, has repeated and delayed and protracted, in an attempt at depth. The net effect is a small paradox: incomprehensibility caused by drag, not by rush.

Even with its latter-day (modified) frankness, Far From Heaven is only thin glamour that lacks a tacit wry base. Thus diminished, it can be tagged with a term that Susan Sontag once defined so well that she put it out of circulation: camp.

Brazil doesn't add up to much, not only because its cautionary tales are familiar, but because it has no real point of view, nothing urgent under its facile symbols. And the story winds on and on looking for a finish. Three or four times I reached for my coat prematurely. [17 Feb 1986, p.26]

The $25 million of his own that Gibson is said to have put into this film may be conscience money, and the savagery in the picture may--consciously or not--be Gibson's way of saying that violence is not always valueless.

Built on one of those particularly ludicrous plots in which, just before the end, we are meant to believe that a long succession of coincidences was really a diabolical scheme. [23 Feb 1998, p. 24]

The progress of the film is so mechanical that we can only wait for the finish, knowing far ahead of time what it will be.

Even at the low end of the Spielberg spectrum, there has always been some air of ingenuity, some sense of the maker's excitement. Not here. The Terminal plods in spirit and execution.

Haneke leaves the future of the human race ambiguous. Or would have left it so if his allegory had worked. But the film is such a pat construction, so dingily shot in heavy light, so dependent on our cooperation without earning it, that we are more aware of the exercise than affected by it

As Freundlich surely knew, he must have counted, as do we, on the revelation of character to enrich the piece. It doesn't happen. None of the people is particularly interesting, not even the obligatory neurotic, well enough played by Julianne Moore. [6 October 1997, p. 28]

Witherspoon is flavorless, so she emphasizes the screenplay's skimpiness instead of at least partially redressing it.

Where Russell wobbles in this screenplay, which he wrote with Jeff Baena, is not in his intent but that he omitted to make it funny.

Dismal and heavy, and the failure rests chiefly with Johnny Depp, who plays Barrie.

And as film, Apollo 13 is dull… Partly it's because there are no characters, no room for any substantive character development… Apollo 13 is staffed with human puppets. [31 July 1995]

The grave story is leaden, the comic story isn't funny, and the comparison--the rivalry--between the two modes is never crystallized.

The director, Sydney Pollack, who appears briefly in the film, has done his experienced best with this Scotch-taped script. But his two stars are insuperable handicaps.

The film, so far as it is betrayable, is betrayed by the casting of Jean. She is played by Jennifer Lopez, a sexy star who is out of key with the picture and is presumably on hand to supply the oomph that Redford no longer provides.

Bertolucci's original story--a generous adjective--was made into a screenplay by the American novelist Susan Minot, who has an unwavering eye for the predictable and an ear for the tired phrase. [24 Jun 1996 Pg.32]

Black comedy? Black enough, but they muffed the other word. Robert Benton and Harold Ramis, put on dunce caps and go stand in the corner.

Literal-minded to the last, I felt nothing but pity for Tom Cruise, fanged, wigged and costumed, trying hard with his considerable talent to make his sanguinary appetite real. [12Dec1994 Pg. 24]

The entire film feels like the result of a market study. Tests were held (it seems) to determine which problems would have the most audience-grab, particularly when combined with two other problems. [06 Mar 1995 Pg.30]

The dialogue creaks, all the more so since we know better than it does what it is going to say.

Is Scorsese desperate? This screenplay has the scent of it, as if he is scraping for material to feed his basic filmic interests. But the risk in this case--not evaded--was that his need led him close to painful strain. I can't remember another Scorsese moment as shockingly banal as the finishing touch here.

I could have managed to bear all the film's shortcomings if it weren't for Clooney. Where was he during the making of this film? His face is there, he knows his lines, he moves as needed, but any traces of the intelligence and rapport, the subtlety and understanding, that have marked his best work are excruciatingly missing. Clooney behaves as if he discovered after he had committed to the film that he really didn't like the script as much as he thought he did but would go through with it anyway. The result is puppetry.

For this mortal, the film converts piety into pathology and then converts it back again at the end with a Song of Bernadette conclusion. I don't know what the title means. I do know that this ridiculous film won the Grand Jury Prize at the 1996 Cannes Film Festival.[ Dec. 9, 1996]

The film's intent was presumably satirical in the vein of "Catch-22" or "M*A*S*H," but the satire is so weak, the action so devoid of comic perspective, that we are left with a naked gaggle of ugly episodes.

The whole is just a wan rejection of traditional story, as well as a weak slap at those who still bother to attack the story tradition.

Gerry is all manner without any trace of depth.

At the last, we're left with a film that tries to doll up a conventional genre with hints of depth, hoping to disguise the cross-dressing by putting it in the shape of an epic. Murnau, Mizoguchi, Ford, even you authors of the Book of Genesis, rest easy. [12 Oct 1992]