That's for "Sleepless in Seattle"（西雅图未眠夜)
Review/Film; When Sam Met Annie, Or When Two Meet Cute
By VINCENT CANBY
Nora Ephron's "Sleepless in Seattle" is a feather-light romantic comedy about two lovers who meet for the first time in the last reel. It's a stunt, but it's a stunt that works far more effectively than anybody in his right mind has reason to expect. Not since "Love Story" has there been a movie that so shrewdly and predictably manipulated the emotions for such entertaining effect. Be warned, though: "Sleepless in Seattle" is a movie you may hate yourself in the morning for having loved the night before.
The situation is this: the recently widowed Sam Baldwin (Tom Hanks), a successful architect, has moved to Seattle from Chicago to try to assuage his sorrow. One night, his 8-year-old son, Jonah (Ross Malinger), calls a late-night radio talk-show psychiatrist. It is Christmas, and the boy is worried about his dad. The furious, embarrassed Sam then gets on the phone. Before he realizes it, he's talking about his perfect marriage before a large portion of the United States population.
Nora Ephron's "Sleepless in Seattle" is a feather-light romantic comedy about two lovers who meet for the first time in the last reel. It's a stunt, but it's a stunt that works far more effectively than anybody in his right mind has reason to expect. Not since "Love Story" has there been a movie that so shrewdly and predictably manipulated the emotions for such entertaining effect. Be warned, though: "Sleepless in Seattle" is a movie you may hate yourself in the morning for having loved the night before.
The situation is this: the recently widowed Sam Baldwin (Tom Hanks), a successful architect, has moved to Seattle from Chicago to try to assuage his sorrow. One night, his 8-year-old son, Jonah (Ross Malinger), calls a late-night radio talk-show psychiatrist. It is Christmas, and the boy is worried about his dad. The furious, embarrassed Sam then gets on the phone. Before he realizes it, he's talking about his perfect marriage before a large portion of the United States population.
Three thousand miles away, Annie Reed (Meg Ryan), a successful feature writer for The Baltimore Sun, is driving to Washington to spend the holidays with her wimpish fiance's family. Annie hears Sam's confession and is so moved that she nearly drives off the road. She's bewitched by something about his voice, the ill-concealed lump in his throat, his choice of cliches. She doesn't immediately know it, but she's in love and will one day wind up with Sam to live in the 1990's version of the kind of bliss that old-fashioned movies used to celebrate.
Evoked by "Sleepless in Seattle," through clips and numerous references in dialogue and soundtrack music, is Leo McCarey's sentimental 1957 classic "An Affair to Remember," a movie that instantly reduces every woman in the new film to tears. "An Affair to Remember" serves as an interesting yardstick for "Sleepless in Seattle." It a reminder of just how much smaller and more self-conscious romantic movies are today than they were when they were played by such icons as Cary Grant and Deborah Kerr, when love could be a matter of life and death, and when fate, not an interfering television-bred child, shaped the outcome.
It's clear that Ms. Ephron understands this. "Sleepless in Seattle" is so cannily concocted that it somehow manages to stand above the sitcom world in which it is set. You won't for a minute misidentify that world. It's there in the unquestioned material perks enjoyed both by Sam and Annie, in the picturesque houseboat on which Sam and Jonah live in Seattle, in the tone of the wisecracks delivered by Annie's pal Becky (Rosie O'Donnell) and even in the nature of Sam's grief.
Sam's beautiful first wife, Maggie (Carey Lowell), materializes from time to time in fantasy sequences, but the movie makes sure that his grief is not contagious. The audience knows, from Ms. Lowell's billing if nothing else, that Maggie is history, that Sam has a woman with co-star status waiting for him around the corner. The movie uses grief, but makes it safely meaningless. This is, after all, the world of sitcoms.
Mr. Hanks and Ms. Ryan are terrifically attractive, each somehow persuading the audience of the validity of all of the things that keep them apart and then miraculously bring them together. Annie's fiance, Walter (Bill Pullman), is a comic nerd for our time. He's not ridiculous in the manner of the other men once played by Ralph Bellamy, but he does have a large problem with allergies. Walter is allergic to almost everything.
No great effort is made to explain how Annie could have fallen in love with him in the first place. He's a plot function, as is Victoria (Barbara Garrick), the woman Sam courts halfheartedly in Seattle. She is pretty and has a manic giggle that would curdle hollandaise sauce. The film was made by the book.
Yet Ms. Ephron and her associates create a make-believe world so engaging that "Sleepless in Seattle" is finally impossible to resist. Both Mr. Hanks and Ms. Ryan bring substance to their roles. The film will probably call up memories of "When Harry Met Sally," although "Sleepless in Seattle," compared with that denatured version of a Woody Allen comedy, looks like a stunning original.
It's not easy keeping apart two lovers who the film tells you are made for each other at the beginning, but the digressions are often extremely funny. The manner by which they are united is outrageous and painfully cute, but finally satisfying. Ms. Ephron makes Machiavellian use of soundtrack music.
There's no doubt how you're supposed to respond when you hear "Over the Rainbow," "Star Dust," "Bye-Bye, Blackbird" and "Jingle Bells." Every now and then, however, there is a comic invention that lifts the movie up, up and away, as with the choices of "As Times Goes By," which more or less opens the film, and "Make Someone Happy," which ends the movie, both sung by the incomparable, gravel-voiced Jimmy Durante in a way that puts the lyrics in movingly bold relief.
In a way, "Sleepless in Seattle" is vamping for time from start to finish. It knows that it couldn't possibly show us (at least, for any length of time) a Sam and Annie together as fully in love as they are apart, before they've met. That would have to be an anticlimax. The movie, in which pacing is all, stops on a dime.
"Sleepless in Seattle" has been rated PG (Parental guidance suggested). It includes some vulgar language. Sleepless In Seattle Directed by Nora Ephron; screenplay by Ms. Ephron, David S. Ward and Jeff Arch, based on a story by Mr. Arch; director of photography, Sven Nykvist; edited by Robert Reitano; music by Marc Shaiman; production designer, Jeffrey Townsend; produced by Gary Foster; released by Tri-Star Pictures. Running time: 100 minutes. This film is rated PG. Sam Baldwin . . . Tom Hanks Jonah Baldwin . . . Ross Malinger Annie Reed . . . Meg Ryan Suzy . . . Rita Wilson Greg . . . Victor Garber Rob . . . Tom Riis Farrell Maggie Baldwin . . . Carey Lowell Walter . . . Bill Pullman Barbara Reed . . . Le Clanche du Rand Cliff Reed . . . Kevin O'Morrison Dennis Reed . . . David Hyde Pierce Betsy Reed . . . Valerie Wright Becky . . . Rosie O'Donnell Jay . . . Rob Reiner

That's for "Sleepless in Seattle"（西雅图未眠夜)
Review/Film; When Sam Met Annie, Or When Two Meet Cute
By VINCENT CANBY
Nora Ephron's "Sleepless in Seattle" is a feather-light romantic comedy about two lovers who meet for the first time in the last reel. It's a stunt, but it's a stunt that works far more effectively than anybody in his right mind has reason to expect. Not since "Love Story" has there been a movie that so shrewdly and predictably manipulated the emotions for such entertaining effect. Be warned, though: "Sleepless in Seattle" is a movie you may hate yourself in the morning for having loved the night before.
The situation is this: the recently widowed Sam Baldwin (Tom Hanks), a successful architect, has moved to Seattle from Chicago to try to assuage his sorrow. One night, his 8-year-old son, Jonah (Ross Malinger), calls a late-night radio talk-show psychiatrist. It is Christmas, and the boy is worried about his dad. The furious, embarrassed Sam then gets on the phone. Before he realizes it, he's talking about his perfect marriage before a large portion of the United States population.
Nora Ephron's "Sleepless in Seattle" is a feather-light romantic comedy about two lovers who meet for the first time in the last reel. It's a stunt, but it's a stunt that works far more effectively than anybody in his right mind has reason to expect. Not since "Love Story" has there been a movie that so shrewdly and predictably manipulated the emotions for such entertaining effect. Be warned, though: "Sleepless in Seattle" is a movie you may hate yourself in the morning for having loved the night before.
The situation is this: the recently widowed Sam Baldwin (Tom Hanks), a successful architect, has moved to Seattle from Chicago to try to assuage his sorrow. One night, his 8-year-old son, Jonah (Ross Malinger), calls a late-night radio talk-show psychiatrist. It is Christmas, and the boy is worried about his dad. The furious, embarrassed Sam then gets on the phone. Before he realizes it, he's talking about his perfect marriage before a large portion of the United States population.
Three thousand miles away, Annie Reed (Meg Ryan), a successful feature writer for The Baltimore Sun, is driving to Washington to spend the holidays with her wimpish fiance's family. Annie hears Sam's confession and is so moved that she nearly drives off the road. She's bewitched by something about his voice, the ill-concealed lump in his throat, his choice of cliches. She doesn't immediately know it, but she's in love and will one day wind up with Sam to live in the 1990's version of the kind of bliss that old-fashioned movies used to celebrate.
Evoked by "Sleepless in Seattle," through clips and numerous references in dialogue and soundtrack music, is Leo McCarey's sentimental 1957 classic "An Affair to Remember," a movie that instantly reduces every woman in the new film to tears. "An Affair to Remember" serves as an interesting yardstick for "Sleepless in Seattle." It a reminder of just how much smaller and more self-conscious romantic movies are today than they were when they were played by such icons as Cary Grant and Deborah Kerr, when love could be a matter of life and death, and when fate, not an interfering television-bred child, shaped the outcome.
It's clear that Ms. Ephron understands this. "Sleepless in Seattle" is so cannily concocted that it somehow manages to stand above the sitcom world in which it is set. You won't for a minute misidentify that world. It's there in the unquestioned material perks enjoyed both by Sam and Annie, in the picturesque houseboat on which Sam and Jonah live in Seattle, in the tone of the wisecracks delivered by Annie's pal Becky (Rosie O'Donnell) and even in the nature of Sam's grief.
Sam's beautiful first wife, Maggie (Carey Lowell), materializes from time to time in fantasy sequences, but the movie makes sure that his grief is not contagious. The audience knows, from Ms. Lowell's billing if nothing else, that Maggie is history, that Sam has a woman with co-star status waiting for him around the corner. The movie uses grief, but makes it safely meaningless. This is, after all, the world of sitcoms.
Mr. Hanks and Ms. Ryan are terrifically attractive, each somehow persuading the audience of the validity of all of the things that keep them apart and then miraculously bring them together. Annie's fiance, Walter (Bill Pullman), is a comic nerd for our time. He's not ridiculous in the manner of the other men once played by Ralph Bellamy, but he does have a large problem with allergies. Walter is allergic to almost everything.
No great effort is made to explain how Annie could have fallen in love with him in the first place. He's a plot function, as is Victoria (Barbara Garrick), the woman Sam courts halfheartedly in Seattle. She is pretty and has a manic giggle that would curdle hollandaise sauce. The film was made by the book.
Yet Ms. Ephron and her associates create a make-believe world so engaging that "Sleepless in Seattle" is finally impossible to resist. Both Mr. Hanks and Ms. Ryan bring substance to their roles. The film will probably call up memories of "When Harry Met Sally," although "Sleepless in Seattle," compared with that denatured version of a Woody Allen comedy, looks like a stunning original.
It's not easy keeping apart two lovers who the film tells you are made for each other at the beginning, but the digressions are often extremely funny. The manner by which they are united is outrageous and painfully cute, but finally satisfying. Ms. Ephron makes Machiavellian use of soundtrack music.
There's no doubt how you're supposed to respond when you hear "Over the Rainbow," "Star Dust," "Bye-Bye, Blackbird" and "Jingle Bells." Every now and then, however, there is a comic invention that lifts the movie up, up and away, as with the choices of "As Times Goes By," which more or less opens the film, and "Make Someone Happy," which ends the movie, both sung by the incomparable, gravel-voiced Jimmy Durante in a way that puts the lyrics in movingly bold relief.
In a way, "Sleepless in Seattle" is vamping for time from start to finish. It knows that it couldn't possibly show us (at least, for any length of time) a Sam and Annie together as fully in love as they are apart, before they've met. That would have to be an anticlimax. The movie, in which pacing is all, stops on a dime.
"Sleepless in Seattle" has been rated PG (Parental guidance suggested). It includes some vulgar language. Sleepless In Seattle Directed by Nora Ephron; screenplay by Ms. Ephron, David S. Ward and Jeff Arch, based on a story by Mr. Arch; director of photography, Sven Nykvist; edited by Robert Reitano; music by Marc Shaiman; production designer, Jeffrey Townsend; produced by Gary Foster; released by Tri-Star Pictures. Running time: 100 minutes. This film is rated PG. Sam Baldwin . . . Tom Hanks Jonah Baldwin . . . Ross Malinger Annie Reed . . . Meg Ryan Suzy . . . Rita Wilson Greg . . . Victor Garber Rob . . . Tom Riis Farrell Maggie Baldwin . . . Carey Lowell Walter . . . Bill Pullman Barbara Reed . . . Le Clanche du Rand Cliff Reed . . . Kevin O'Morrison Dennis Reed . . . David Hyde Pierce Betsy Reed . . . Valerie Wright Becky . . . Rosie O'Donnell Jay . . . Rob Reiner
And this is for "Léon: The Professional"(这个杀手不太冷)
FILM REVIEW; He May Be a Killer, But He's Such a Sweetie
By JANET MASLIN
As the first American big-studio film about a man who dearly loves his houseplant, "The Professional" is bound to raise eyebrows. And raise them on both sides of the Atlantic, since this is the work of the film world's most attention-getting man without a country, Luc Besson.
In "La Femme Nikita," Mr. Besson stylishly melded American luridness with Gallic sophistication, though the violence level was enough to dismay French audiences and prompt a coarse American remake ("Point of No Return"). Emboldened by the success of that hybrid, Mr. Besson has now made a film in New York, featuring characters who speak like Americans, think like Frenchmen and behave appallingly in any language. "The Professional" lacks the sexy elan of "La Femme Nikita" and suffers from infinitely worse culture shock.
As the first American big-studio film about a man who dearly loves his houseplant, "The Professional" is bound to raise eyebrows. And raise them on both sides of the Atlantic, since this is the work of the film world's most attention-getting man without a country, Luc Besson.
In "La Femme Nikita," Mr. Besson stylishly melded American luridness with Gallic sophistication, though the violence level was enough to dismay French audiences and prompt a coarse American remake ("Point of No Return"). Emboldened by the success of that hybrid, Mr. Besson has now made a film in New York, featuring characters who speak like Americans, think like Frenchmen and behave appallingly in any language. "The Professional" lacks the sexy elan of "La Femme Nikita" and suffers from infinitely worse culture shock.
The man with the plant is Leon (Jean Reno), a gentle, childlike soul. He lives a quiet life, drinking milk and dusting his plant's leaves. ("It's my best friend," he says about the plant, thus helping more obtuse members of the audience. "Always happy. No questions. It's like me, you see.") He is also seen watching a Gene Kelly movie, which fills him with an innocent delight. How strange it is that he happens to be a paid killer!
By chance, a young girl named Mathilda (Natalie Portman) becomes Leon's soul mate. This wistful, pretty creature is his neighbor in a New York apartment house, one of the many Manhattan locations that Mr. Besson films peculiarly, with a loving attention to other films about New York rather than New York life.
Leon sometimes sees the girl in the hallway, where she sits smoking pensively, wearing the bobbed hair, black choker and striped jersey that make her look like a mini-Parisian streetwalker and certainly like a pederast's delight. "Is life always this hard?" she asks Leon one day. "Or just when you're a kid?"
"Always, I guess," Leon thoughtfully replies.
Mathilda's life becomes hard when her entire sleazy family is rubbed out by Gary Stansfield (Gary Oldman), a fantastically corrupt drug-enforcement agent who says things like "Death is whimsical today." In this preposterous role, Mr. Oldman expresses most of the film's sadism as well as many of its misguidedly poetic sentiments. During the buildup to an ugly shootout, he even claims that the calm before the storm reminds him of Beethoven, a thought that may help viewers get through the nastiness that follows. (Mr. Oldman will actually be playing Beethoven in another, less gun-toting movie, "Immortal Beloved," soon.)
Among the condescending American stereotypes with which Mr. Besson has filled "The Professional" (Danny Aiello plays a mobster who does business out of an Italian restaurant), there are elevating cinematic references. Leon checks into a hotel using the Hitchcockian name MacGuffin. And he is seen playfully imitating John Wayne ("O.K., Peelgreem!").
These touches all underscore the idea that Leon has a true sweetness, and that he and Mathilda can redeem each other with the purity of their platonic love. Although she begs Leon to teach her how to be a hit person, claiming to be interested in "the theory" of such work, "The Professional" is much too sentimental to sound shockingly amoral in the least. Even in a finale of extravagant violence, it manages to be maudlin.
Mr. Reno, who also appeared in "La Femme Nikita" and Mr. Besson's "Subway," plays Leon with a soulful air that overstresses his superiority to a brutish world. Ms. Portman, a ravishing little gamine, poses far better than she acts.
"The Professional" is full of howling mistakes that emphasize its alienness, like the call to Mathilda's incredibly sordid household from the starchy headmistress of the private school Mathilda supposedly attends. Mathilda eventually digs a hole for Leon's houseplant on the school's grounds, giving it symbolic life without realizing it will die in the first frost.
"The Professional" is rated R (Under 17 requires accompanying parent or adult guardian). It includes a great deal of graphic violence. THE PROFESSIONAL Written and directed by Luc Besson; director of photography, Thierry Arbogast; edited by Sylvie Landra; music by Eric Serra; production designer, Dan Weil; Gaumont/Les Films du Dauphin production, released by Columbia Pictures. Running time: 112 minutes. This film is rated R. WITH: Jean Reno (Leon), Gary Oldman (Gary Stansfield), Natalie Portman (Mathilda) and Danny Aiello (Tony).
From 《纽约时报》

这里有此片的英文影评185篇：
http://207.171.166.140/title/tt0108160/usercomments
不想雷同的话，从中间开始翻页，找两三篇综合整理一下，就可以用了。

Sleepless in Seattle is one of the most fantastic movies I've ever watched.It really hit me somewhere in my heart.We may fall in love all of a sudden.There is no reason for this.And neither do we need.Love is just like magic.Love has it all.
What if someone you never met, someone you never saw, someone you never knew was the only someone for you? Good solid movie. The story although very rare was pretty good. It is one of the finest of all Hollywood romantic comedies. It si a fairy tale that even teens can enjoy.

Regardless of how cyberspace has seemingly diminished it's size, the world is still an awfully big place, and it's impossible for any one person to occupy more than a minuscule portion of it at any given time. So it's imperative that individuals find that special niche for themselves, that little piece of the world that becomes their own, where they can live and love and engage in the pursuit of happiness. And once that `perfect' world is created, it's devastating when something upsets the balance, as in the case of this film, the death of a spouse. When the love of a lifetime is abruptly taken away, how does one recover? Can one recover? How do you go on when your heart has been removed? All valid questions that are explored and addressed in Nora Ephron's touching and romantic `Sleepless In Seattle,' starring Meg Ryan and Tom Hanks. The film begins on a somber note, with the funeral of Maggie Baldwin (Carey Lowell), respectively the wife and mother of Sam Baldwin (Hanks) and his son, Jonah (Ross Malinger). Maggie was the love of Sam's life, and inconsolable after her passing, he decides the best thing for himself and his son is to move to another city and try for a fresh start. So they head west as far as possible, to Seattle, where Sam remains unable to emerge from the funk of his loss. Christmas and New Year's is especially tough on Sam and Jonah, and around this time Jonah happens to tune into a late night talk show featuring Dr. Marcia Fieldstone (Caroline Aaron), whose job is to help her listeners with their problems. Jonah calls her and tells their story, then takes the phone to his dad in the next room, and in deference to his son, Sam consents to talk about his situation on National radio. In the Baltimore area, writer Annie Reed (Ryan) is listening, and touched by the sincerity in Sam's voice, she cajoles an assignment that subsequently takes her to Seattle, where she attempts to hook up with Sam, a man she knows only as a needful, disembodied voice from the radio.
So begins a romantic odyssey that probably could only happen in the movies, but it makes no difference because in Ephron's capable hands, this story works, and it works beautifully. There's a line in the movie, in fact, that kind of sums it all up: Becky (played by Rosie O'Donnell) says something to the effect to Annie that, `You don't want love, you want `movie' love. And maybe that's why this movie is so endearing and enduring; it's about the kind of love you find in a perfect world, the kind of love everybody wants and needs (though few will admit it, even to themselves) but rarely finds, and Ephron knows exactly how to make it connect with her audience. It has to do with understanding basic human needs and knowing how to translate it all into a cinematic art form that will effectively reach those who see it. And Nora Ephron does it as well-- or possibly better-- than any director before or since, and as she proved later with `You've Got Mail,' this film was no fluke; she knows her stuff, and she knows how to deliver it. It's intentionally and shamelessly sentimental, but rather than maudlin, Ephron hits just the right emotional tone, and it's perfect, from the romance to the humor she injects at just the right moment to offset the drama, to the music-- using just the right song at just the right time-- that does so much to enhance the story.