Chris Kaltenbach

Inspirational, heart-rending and the movie that made Taylor a star - what more do you want? [19 May 2007, p.9S]

Cool!

A gritty, profane and profoundly disturbing look at the American drug culture.

Lighthearted fluff, not piercing drama. Still, a little shot of reality -- or at least an acknowledgement of same -- could have done this film wonders.

The Guardian is that rarest of cinematic commodities: an action movie displaying brains and heart and the opportunity for its stars to do something more than keep the narrative flowing between explosions.

Although some clever touches are clearly directed at adults -- much of the film's humor is quite likely to go under your head. [20 Nov 1998]

The best thing that can be said about this Yours, Mine and Ours is that it's inoffensive.

Avoids pretension by never trying to be more than it is -- an acknowledgment that things frequently are not as bad as they seem. That's a concept that deserves a little spreading.

Spirit lacks that essential emotional resonance, and suffers because of it.

Besides offering the giddy pleasure of seeing Mia Farrow play a demonic nanny, there's not much to the film that a repeat viewing of its earlier incarnation couldn't provide.

Puerile, offensive, degrading, dumb, pointless, insipid and may just well be a harbinger for the end of Western civilization as we know it. But I laughed. Sorry.

Predictable but utterly engaging, 27 Dresses will likely be remembered as the film that made Katherine Heigl an A-list star.

A welcome anomaly - a shallow hero you root for.

Thank goodness for Davy Crockett; without him, the Alamo could have proven the blandest heroic siege in movie history.

Relentless in its crudity, so indiscriminate in its pursuit of tasteless laughs, so pure in its determination to offend, one almost has to admire it. It's even funny. Sometimes.

More of a sales pitch than a movie.

Better than his previous films, The Day After Tomorrow plays to Emmerich's strengths, making for a thrill ride that rarely disappoints when it matters.

The Clearing reminds us what a riveting presence he (Redford) can be.

The cinematic equivalent of a careless foot fault.

Goes to such great lengths to show the greatness of its Navy diver hero that it neglects to add much depth to his character - or the story.

Humorous but much too predictable send-up of reality TV and the sheer banality of it all.

Here's hoping your own dreams of Africa are more interesting -- and better acted -- than this movie.

Much of the film's virtue lies in its straight-ahead narrative and uncomplicated morality. That and the undeniable charisma and virtuosity of its star.

There's a dignity to Mondays in the Sun that manages to keep the film buoyant, helping to keep all the despair at bay.

The martial arts wizard shows a nice feel for the Butch and Sundance thing.

Anderson brings real gravitas to the unfortunate Lily Bart, in an Oscar-caliber performance that makes one wonder what Academy voters are looking for.

It's hard to figure who this picture is supposed to be for. Although a cartoon, it's way too mean-spirited and crass for young kids (parents, be forewarned!). And the idea that any substantial number of adults would find this sort of thing entertaining ... let's pray civilization hasn't come to that.

Nothing seriously detracts from the film's overall brilliance.