Jami Bernard

Gloriously inventive, delightfully nutty comic treasure is unlike anything you've ever seen. It's lunatic.

The faux-documentary format does nothing for the material, but Kaye turns in a chaotic and ultimately moving performance.

Michael Jackson is an alien? Tell me something I don't know.

Like many dreams, you won't remember it when you wake up. The style obliterates any emotional attachment.

No other mainstream movie has so openly tackled the subject of female sexual experience.

There are many delightful movie techniques out there available for making animals appear to speak, so it's too bad The Shaggy Dog doesn't use any of them.

A comedy that successfully plays with stereotypes, both racial and personal.

The movie is set in a gloriously creepy and crumbling Venice. It's the off-season, and every deserted canal and alleyway reeks of bad vibes. Roeg plays masterfully with this menacing atmosphere, jangling the nerves with quick cuts and quixotic possibilities. [16 Oct 1998, p.72]

Rickman and Richardson are excellent actors put to ghastly waste.

High spirits and colorful hissy fits go a long way toward masking the inexperience of this cast of mostly nonprofessionals. It's a charmer.

The story is a mess, some of the images offensive, the acting under par and the dialogue silly.

An impressive portrait of the migraine of teenage girlhood, and also works on the more modest level of teen romance.

Like all blond jokes, Legally Blonde is basically meanspirited, and that's when it's funniest.

The best part of Zatoichi is its fine sense of rhythm, culminating in a galvanizing clog-dance finish.

Don't see The Inheritance if you're already depressed. This airless downer from Danish director Per Fly is about an heir who makes one wrong decision from which even lousier decisions effortlessly flow.

The nasty, violent material has two small beacons of hope - Nielsen as a fair-weather stripper in the manner of old film-noir dames, and Quaid as a scurvy ­mobster who hates being cheated. With his puffy, reddened face, Quaid looks like a bad Santa.

A fascinating whirl of politics and palace intrigue.

Spielberg's direction and Melissa Mathison's script never lose sight of the realistic, low center of gravity world of childhood, in which such marvelous adventures happen every day that an alien knocking around the garage is not really such an unusual occurrence. [2002 re-release]

The result is a bit of a mess: sometimes delightful, sometimes tedious, always creative.

The results are impressive. Maybe, as the U.S. falls abysmally behind other nations in the sciences, it will get kids interested in that field again.

Some of the simplest shots give you the full picture of the price these guys paid for their dreams.

The movie's pleasures are spare, and will appeal mostly to die-hard Rivette fans and viewers with slow pulses.

Has a great deal of empathy for that excruciating limbo that is female adolescence.

It was filmed in and around the World Trade Center, and the subsequent cuts, reshoots and sleights of hand designed to obscure that fact prove devastating.

A charmer with an attractive cast and an excellent soundtrack.

Nothing you haven't already seen elsewhere, except for Vin Diesel looking even then like a box-office champ.

The movie is full of puzzling celebrity cameos, as if Brazilian director Bruno Barreto called in all his chits.

A caustic, funny, low-budget treat, shot on digital video.