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Each of the four lead performances is exceptional, none more so than Burt Reynolds' beefy, supercilious Lewis.

A sad, brilliant reminder that sometimes people are the most threatening monsters of all.

Exquisite, a near-perfect blend of action, romance, fantasy and philosophy, finely acted and beautifully filmed by director John Boorman and cinematographer Alex Thomson.

For all its audacity, a misguided folly.

A swirl of action and information punctuated by chase scene after glorious chase scene.

You're going to have to track "Point Blank" down, but if you're looking for a real slice of what the thriller cinema perpetually promises and so rarely delivers -- pure force from up close -- it's one of the standout secrets of the year.

Spectacular chases, fires and explosions are captured with fluid camerawork. There are no stunt doubles for Keaton and of course no digital effects.

The birth of slapstick.

Intriguing but finally dissatisfying.

Hell in the Pacific grapples with the arresting relationships of character, communication and survival, but succeeds only fitfully in dramatically projecting these elemental qualities.

Not quite a car crash of a movie, Boorman's uneven black comedy is more like a fender-bender. It falls into the twilight zone between so bad it's good and so bad it's bad.

As tigers go, it's all growl and no teeth.

If you think the spy-thriller genre has been streamlined and spoofed and subverted until nothing new can be done to it, think again.

Seems diligently assembled.

In attempting to make its politics palatable as entertainment, the film has grafted them onto a boatload of Hollywood implausibilities whose excesses cripple believability.

As an exercise in art, or even polemics, Beyond Rangoon is beyond redemption, but still works its occasional magic with extraordinary flair.