Indian director Mira Nair's tragicomedy is less passionate and disturbing than many US pics dealing with race relations. Mississippi Masala is handled with a light touch.
E. M. Forster's Howards End makes a most compelling drama, perhaps the best film made during the 30-year partnership of Ismail Merchant and James Ivory. Longtime Merchant Ivory collaborator Ruth…
A picture divided against itself, City of Joy is half American-style gangster melodrama and half inspirational social consciousness. Impressively produced in Calcutta's teeming poverty-ridden streets…
The Mighty Ducks is a formulaic pic meant for children but actually focusing on a yuppie's struggle for redemption.
Romper Stomper is a Clockwork Orange without the intellect. In many ways genuinely appalling, pic centers on a gang of moronic neo-Nazi skinheads who regularly do battle with Melbourne's Vietnamese…
Paul Schrader has created a pointed companion piece to his earlier portraits of lonely outcasts (Taxi Driver, American Gigolo). Contemplative and violent by turns, this quasi-thriller about a…
Gladiator is an exercise in audience manipulation, an interracial buddy movie. It's as if the producers called in their writers and said, 'Give us a boxing picture with some of that Barton Fink…
With didactic intent behind a rabble-rousing story, filmmakers admirably draw attention to the scandalous condition of health care at the nation's Veterans' Administration hospitals while aiming for…
A clash of two dissimilar personalities is examined with mixed success in the thriller Where Sleeping Dogs Lie. Dylan McDermott portrays an unsuccessful writer in Hollywood who's frustrated by the…
The Dark Wind is a good-looking version of Tony Hillerman's 1982 cult policier that goes for the same slow burn. Lou Diamond Phillips toplines strongly as the Navajo flatfoot.