Legend is a fairytale produced on a grand scale, set in some timeless world and peopled with fairies, elves and goblins, plus a spectacularly satisfying Satan. At the same time, the basic premise is…
Desert Bloom emerges a muted, intelligently observed story [by Linda Remy and Eugene Corr] of a girl's growing pains in an emotionally deprived and politically warped environment.
Directed with the throttle wide open, pic roots itself firmly in very fresh history, then proceeds to brashly rewrite it, thereby turning itself into an exercise in wish fulfilment for those who…
Not so much about power as about p.r., this facile treatment of big-time politics and media, featuring Richard Gere as an amoral imagemaker, revolves around the unstartling premise that modern…
Iron Eagle is a crackerjack fighter-pilot picture focusing on a daring rescue of a hostage in a small Middle East country.
Derek Jarman's Caravaggio triumphantly rises above its financial restrictions and proves, once again, that less can be a lot more.
Where the River Runs Black is a beautifully simple film that celebrates an innocent boy's peaceful co-existence with nature while subtly despairing about man's abuse of it.
Streets of Gold is a likable, but hardly compelling story of not one, but two kids trying to box their way out of the slums.
David Beaird avowedly set out to imitate the screwball comedies of the 1930s and 1940s and has succeeded admirably, thanks to adorably spunky Deborah Foreman and her stuffy foil, Sam J. Jones. They…
If Foreign Body [based on the novel by Roderick Mann] doesn't have quite the comic and narrative richness of Ronald Neame's Ealing Studios classics, this variation on the 'great impostor' plot device…
About Last Night . . . has little to do with perversity, let alone Sexual Perversity in Chicago, the David Mamet play on which it ostensibly is based. Film lacks much of Mamet's grittiness, but is…