David Sterritt

The filmmakers have devised some clever twists on the earlier films they recall - Raiders of the Lost Ark and Peter Pan among them - and they reserve a good share of the derring-do for their heroine, who's a refreshingly far cry from the helpless ladies-in-distress of old. Under the direction of Robert Zemeckis, the action goes limp and perfunctory at a few key moments, weakening the picture's wallop. But it still packs a healthy amount of self-deflating fun.

The movie will disappoint people expecting a genuine superhero epic or an over-the-top spoof. But those in the mood for an offbeat satire with a gifted cast will have a surprisingly good time.

The picture is more sociologically instructive than emotionally involving, serving as a document of contemporary Irish life rather than an ordinary inspirational story.

The acting is amiable but the story isn't much deeper than the callow main characters.

The barometer for whether you'll enjoy Amélie is whether you liked "Moulin Rouge" last summer. If snappy visuals, tangy colors, mood-drenched scenery, and a good-hearted heroine make you as happy as a box of Parisian chocolates, it's definitely for you.

In place of a conventional plot, this utterly unique Swedish movie offers a series of related episodes -- Some are funny, some are tragic, all are dreamlike and unpredictable, suggesting that the 21st century will be a lot weirder and wackier than we expect.

Many will welcome the movie's interest in spirituality, but some may wonder why it's couched in a celebration of sensual pleasures ranging from sex to cigarette smoking.

The movie is sociologically rich, if not very memorable in the personalities it depicts.

The acting is fine, the filmmaking is honest, and the class-conscious story couldn't be more timely.

The result is fine fantasy fun.

Weir had a truly magical touch in early films like this 1977 masterpiece, which offers a transfixing excursion into the "dream time" of Australian myth.

Coppola's satirical debut movie is too ambitious for its own good. The cast is good, though, and ambition isn't the worst fault a fledgling filmmaker can have.

The story has charming and uplifting moments as well as strong performances by an impressive cast.

Some may find the movie too crowded and preachy to serve as a meaningful history lesson, but it will delight anyone who thinks our cynical age could benefit from recalling the vigorous idealism and venturesome artistry of a bygone era.

An artful blend of '70s detail and dreamlike moodiness makes Coppola's first movie an exceptionally promising directorial debut.

What diminishes the film's impact is Mary Agnes Donoghue's schematic screenplay, which follows Astrid from home to home as unswervingly as a faithful pet.

Imagine a bolder "Bully" blended with a more probing "River's Edge" and you'll have some idea of this little drama's strong dramatic and emotional power.

The fact remains that some Treks are better than others, and ''The Final Frontier'' doesn't have the surprising warmth of the very best. It's diverting, but forgettable. [19 June 1989, p.15]

Try to imagine "In the Company of Men" with a feminist twist and you'll have the gist of this fervently acted, ultimately unconvincing drama.

Stranger than fiction, indeed.

Amiably bland actors can be fun to watch, as Tom Hanks has proved. Freeman is no Hanks, though, and The Hitchhiker's Guide won't boost anyone's career into hyperspace. Or give your mind a workout.

Green tells the tale through leisurely, eye-catching shots that allow the young cast members to imbue their characters with striking credibility and intensity.

The action of this South Korean melodrama is fast and furious, but its emotions and ideas don't manage to keep up.

Married to the Mob isn't for all tastes. But for cinematic thrills and spills, it's quite a ride.

It would be a lot better if it didn't lean exclusively on bone-crunching action for its climactic thrills, and the story continues long after its ideas have started to sag. [29 June 1989, Arts, p.10]

Don't expect much from the scratch-and-sniff "odorama" gimmick; the mischievous John Waters set a higher standard for that novelty in "Polyester" (1981).

Expertly made, thanks largely to Jim Caviezel's fervent portrayal of Jesus and Caleb Deschanel's skillful camera work. But the film contains little to learn from, unless one is unfamiliar with basic Christian history.

Leconte justifies his vaunted reputation by lending freshness and feeling to what could have been a gimmicky tragicomedy.