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It isn't the device that's so crude, but the execution, which turns Nash's persecutory demons into nuisances that won't leave us alone.

Crowe pulls out the stops, but he looks too bullish and controlled for such a pitiable victim.

History, melodrama, comedy and satire are skilfully combined in this consistently exciting adventure. Visually and dramatically it rarely sags, there's a vivid array of characters and though it's a film with issues, these never eclipse the human drama.

Moviegoers seeking a grand yet edifying entertainment, right-stuffed with what Kaufman calls "seriousness of subject matter and a wild humor that comes out of left field," now know where to look...

With all the legs flailing, earnest speechifying, hot-headed outbursts, and mild abuse of crockery, Robert Benton's adaptation feels more like a fat Greek wedding than an Ancient Greek tragedy.

One of those films that makes you say, 'That was powerful. Now what the hell was it about?'

Charming but conventionally plotted, it's a gentle ride that's lit up by compelling turns from Harris and Ellison.

Since a large portion of the film is taken up with the theme of school bullying, it may have some contemporary relevance, but good intentions do not always a good movie make.

As wayward and self-regarding as its subject, the film long overstays its welcome.

What it finally adds up to is a huge mixed bag of waxworks and daring, a film that is furiously ambitious even when it goes flat, and startling even when it settles for eerie, movie-of-the-week mimicry.

There is a limit to how many times one human can watch toothless, malnourished men stumble around the desert bitching about communism and a lack of borscht.

An exceptional adventure story from one of the founding fathers of Australia's modern cinema.

Handsome but standard-issue heartland fare.

The offscreen story of these unknowns getting their autobiographical drama to the screen proves more interesting and inspiring than the polished, earnest, rather routine movie itself.

Every kitchen-sink dramatic clich is trotted out in John Gray's Brooklyn period piece.

A movie that one watches with the sense of pushing it up a hill.

This meticulous but ultimately rather pedestrian drama gradually won me over as a minor if watchable example of the "victory through defeat" brand of military heroism that John Ford specialized in.

This engrossing account of the nation's most perilous moon shot embodies what many people consider to be old-fashioned American virtues in a virtually pristine state.

For anyone who loves sharp dialogue, compelling characters, and a stinging social rebuke, Glengarry Glen Ross is not to be missed.

Mamet reveals his exceptional talent for writing almost poetic working-class vernacular, scores his major implicit thematic thrusts against the nature of the way business-at-large is conducted.

Places in the Heart is a loving, reflective homage to his hometown by writer-director Robert Benton.

Much is unemphatic, but all of it carries the moving weight of conviction. And it ends on a healing grace-note which passeth all understanding.

More than a straightforward biography charting Jackson Pollock's rise to prominence, Ed Harris' film is a penetrating study of the work ethic as it applied to one of America's great post-war painters.

Harris as an actor does justice to his long-term passion to play Pollock.

At its heart lies a sweet romance, with good performances from both the leads and an Oscar nomination for supporting actress Lahti.

Swing Shift tries ... to twist some consequence out of a tawdry adulterous tryst by a couple of self-centered sneaks. But the writing and acting are too flat for the challenge.

Some bad movies are in no hurry to announce themselves, but Walker declares its badness right from the opening titles.