Roger Ebert

At some point during the watching, "Sansho the Bailiff" stops being a fable or a narrative and starts being a lament, and by that time it is happening to us as few films do.

Perhaps some viewpoints WILL be changed by watching this documentary, which carries no distinct political slant and employs an old-fashioned “fly on the wall” technique, thus allowing the footage and the comments from participants on both sides to speak for itself.

The film's extended suspense sequences deserve a place among the great stretches of cinema.

Few achievements in the world of cinema can equal it.

The characters aren’t consistent, and Cliff eventually becomes so unbelievable that we just stop caring. The movie’s ending is an exercise in plot; its beginning and its music deserve better than that.

This is a disappointing, misguided movie that has all of the parts in place to be a much better one.

It would be easy to tear the plot to shreds and catch Kramer in the act of copping out. But why? On its own terms, this film is a joy to see, an evening of superb entertainment.

The high-tech stuff is absorbing. Harrison Ford once again demonstrates what a solid, convincing actor he is, and there's good supporting work from Archer, Thora Birch as the Ryans' precocious daughter, and the irreplaceable James Fox as a British cabinet minister. But at the end, when a character is leaping into a burning speedboat in choppy seas, I wondered if this was exactly what Tom Clancy had in mind.

The 'Burbs tries to position itself somewhere between Beetlejuice and The Twilight Zone, but it lacks the dementia of the first and the wicked intelligence of the second and turns instead into a long shaggy dog story.

All great farces need a certain insane focus, an intensity that declares how important they are to themselves. This movie is too confident, too relaxed, too clever to be really funny. And yet, when the cowboys sit around their campfire singing a sad lament and then their horses join in, you see where the movie could have gone.