Frank Scheck

While Kramer's well-conceived screenplay features much amusing dialogue, there's a forced quality to the proceedings that makes the comic premise seem more artificial than it needs to be.

The film makes an extremely powerful, timely and important statement, especially coming from someone whose name carries such symbolic weight. Disney deserves tremendous credit for standing up for what’s right, even if it means biting the family hand that feeds her.

While it provides a sometimes thoughtful examination of modern sociological issues, The Architect unfortunately succumbs to melodrama in its depiction of its troubled characters.

Delivers enough tense atmospherics to make it worth checking out for sci-fi fans.

Norm of the North is mildly diverting, although Pixar needn't be overly concerned.

The film is an initially insightful portrait of modern corporate society that unfortunately lapses into melodrama.

Veers wildly from slapstick comedy to melodrama, but writer-director Rahul Bose, making his feature debut, handles the transitions more effectively than is usual, and the film is generally entertaining even when it's being utterly ridiculous (or maybe especially when it's so).

Although more than a little meandering and self-indulgent, the film is likeable nonetheless thanks to its incisive characterizations and canny capturing of true-life moments.

The Boy From Geita is a harrowing depiction of ignorance and superstition run amuck.

Rosenwald is not always successful in doing full justice to its rich subject matter, suffering from pacing problems and occasionally feeling drawn-out in its feature-length running time.... But it certainly deserves kudos for bringing long overdue attention to this unsung figure whose life was one big mitzvah.

It would have been nice if Cold Brook had added up to something more substantial, but at least it's a film about grown-ups who generally try to behave that way, and these days that feels like a rare thing.

Despite its occasionally stale elements, the film succeeds movingly thanks to the inherent power of its narrative and the terrific performances by Boosher and the four young actresses (Amber Afzali, Nina Hosseinzadeh, Sara Malal Rowe, and Mariam Saraj) as the team members.

Features enough genuine laughs to give it decent commercial traction.

The Incomparable Rose Hartman doesn’t quite make the case for lengthily profiling its irascible and not particularly interesting subject.

While the duo's crimes were indeed sensational, writer-director Todd Robinson's starry take on the material fails to provide much in the way of a new perspective.

It’s all about as familiar-feeling as it sounds, but it goes down easily thanks to McG’s skillful, fast-paced direction, the imaginatively lavish CGI-enhanced visuals, and King’s impressive performance.

Diane falters toward the end, with the story's denouement not quite living up to the provocative set-up. But it nonetheless exerts a fascinating pull that makes you very interested to see what its talented filmmaker comes up with next.

The effectively deglamorized Cattrall is terrific, investing her portrayal with a complex mixture of vulnerability, toughness and still-powerful sexuality.

Fortunately, its talented and appealing young ensemble make it go down as easily as a cold beer on a hot…well, you know.

Lacks the cinematic panache to elevate it above the level of agitprop. But its all too relevant dissection of its subject is well worth paying attention to.

Much like the songs of Willie Nelson that populate its soundtrack, the film relies on a general uplifting atmosphere as the indefatigable Greta stops at nothing to fulfill her dream.

Peppermint lacks subtlety and anything even remotely resembling credibility, but like its heroine, it certainly gets the job done. It's the sort of picture that would have been boffo on a grindhouse double bill in the '70s.

While The Storyteller hardly breaks any new ground in its Peter Pan-inspired tale, it boasts an undeniable sweetness that proves appealing amidst so many frenetic kids movies.

It's an intelligent, well-done pic whose restraint can be commended. But it also operates at such a slow burn that it comes close to fizzling out completely.

An affecting drama marked by solid performances and a refreshing restraint in the way it delivers its religious message.

While not as balanced or fully satisfying as it should be, Matthew Barney: No Restraint will fit naturally as a pairing for future theatrical and DVD exposures of Barney's controversial works.

If the film ultimately lacks the narrative focus necessary to make it stick in your waking memory, its shocking images may well haunt your nightmares.

It’s Crowe who’s the film’s MVP.

Midnight Sun does an effective job of tugging at vulnerable teenage hearts, while managing to provide a few laughs along the way. None of the film rings remotely true, especially the cornball conclusion, but the two young leads are so darn attractive and appealing that one can't help being caught up in their characters' poignant romance.

Although the film’s overstuffed, overpopulated storyline proves only sporadically interesting, it’s notable for at least providing an alternative view of a city more commonly associated with wintry gloom, corruption and heavy drinking.

Yet another ode to the pleasures of overindulgence. The experience of watching this loosely plotted comedy set in the suburbs of New Jersey is somewhat akin to spending a nice summer day playing softball with your friends. Only without the sun, the fresh air, the exercise or the fun.

Slasher film fans should embrace this Texas Chainsaw Massacre, which pays loving homage to the original via a variety of Easter Eggs and doesn’t at all stint on the gore. Seriously, there’s so much blood splattered on the screen that you’ll have an urge to wear a poncho if you sit too close.

While the filmmaking is crudely effective at best, it successfully showcases the physical, if not the acting talents, of its largely female cast.

The dialogue is frequently fun and snappy, and the colorful supporting characters help to sustain our interest.

All of this material proves fascinating. It's a shame, then, that so much of Intent to Destroy plays like a special feature for the DVD edition of The Promise.

A diverting blend of "Rear Window"-style suspense and autumnal romance. While the film is ultimately unable to fully succeed on either front, it offers many pleasures along the way.

Displays moments of cleverness but not enough to sustain its feature-length running time.

None of this would work nearly as well without Bell, whose raspy voice and menacing gravitas are so riveting that he makes Jigsaw’s oft-repeated declaration “I’d like to play a game” scary as hell. He’s made the character truly iconic, much like Robert Englund did with Freddy Krueger. Accept no substitutions.

The filmmakers, longtime music video veterans, have delivered a technically polished production that belies the film's low budget. They've also elicited mostly strong performances.

Talkington indulges in a lot of directorial flourishes, some of which work and some of which don't, but they definitely lift the proceedings above the mundane. [28 Nov 1994]

The film pretty much packs every canine cliché imaginable into its running time, but one look into the soulful eyes of its four-legged star will melt all but the coldest of hearts.

The Dirties is as provocative as it is sloppily messy in its themes.

It suffers from a lack of genuine chills or suspense that renders its slight virtues rather moot.

The live-action Lilo & Stitch is faithful enough to the original to please traditionalists and tweaked enough to feel somewhat fresh.

Braid ultimately offers far more style than substance. But it provides many memorable moments and stunning visuals along the way, making it a cinematic ride worth experiencing for more adventurous viewers.

There’s absolutely nothing memorable about the film.... But it boasts plenty of gritty period atmosphere and earns points for its lack of pretension.

Although it never quite lives up to the satirical possibilities of its high-concept premise, Unleashed delivers some mildly enjoyable laughs thanks to its engaging female lead and the exuberantly physical performances of her co-stars.

Its blizzard of statistics notwithstanding, the film consists mostly of true-life stories that, while undeniably tragic, stir up more emotion than thought.

Spends an inordinate amount of time ogling the tight, lithe bodies of its young female characters. Thus, what might have appealed only to teen girls might well have crossover appeal to leering young boys as well.

Lacking narration or graphics, the documentary employs a fly-on-the-wall approach that proves frustrating.

While its mixture of cinematic styles is awkward more often than not, Girl Rising deserves points for at least trying something different rather than relying on the bone-dry, academic approach usually employed for such informational ventures.

While the human performers are more than adequate, there’s no doubt that the canine stars carry the day. Their utter irresistibility helps a long way in terms of getting past the corny plot machinations of A Dog’s Purpose.

Heavy on oppressively humid atmosphere and light on originality, the film is a mostly forgettable genre exercise whose viewers won't miss much by watching at home.

Fortunately, the new actioner directed by the prolific Steven C. Miller (First Kill, Arsenal, Marauders) proves fast-paced enough to overcome its more ludicrous plot elements.

A visually arresting cinematic essay that, unfortunately, makes its points long before its conclusion.

Both in terms of the activities and characters depicted, Rank doesn't truly manage to sustain interest for the course of its feature-length running time.

Diffuse and rambling at times, An Animated Life, which sometimes has the feel of a tribute film shown at an award gala, is not as compelling as such similarly themed docs as "Waking Sleeping Beauty" and "Frank and Ollie." But it nonetheless serves as an entertaining salute to an unsung figure whose considerable accomplishments well deserve recognition.

A film that doesn’t quite know whether it wants to educate its audience or give it a thrill ride. It proves more interesting for the former elements than the latter, but it nonetheless delivers plenty of compelling moments along the way.

Atmospheric visuals and strong performances aren't enough to compensate for this would-be poetic drama's thin plotline.

The Reckoning: Hollywood's Worst Kept Secret is generally effective as a fast-paced primer on the sexual harassment scandals that have swept show business in the last year but doesn't really add much to the story that we don't already know.

The film would have benefited from director Jeff Celentano perhaps picking up the pace a little, and the deletion of some extraneous subplots. But the climactic sequence, in which Rickey bats through the pain while encountering the toughest pitchers he’s ever faced, provides the perfect stirring conclusion.

Itsy Bitsy works well enough on its own terms, providing some genuine jolts and benefiting from the excellent performances.

It’s all dumb beyond belief, of course, but the film (efficiently directed by Simon Cellan Jones) is so fast-paced that you settle into its now well-honed formula as if it were a recliner equipped with an eggnog dispenser.

The Super isn't distinctive enough to make it stand out amongst the glut of urban-set horror films. But it is chilling enough to make glass-walled, modern high-rises a lot more appealing.

Sweaty Betty has a likable quality and an obvious affection for its subjects who maintain a resolute cheerfulness throughout their struggles. But it's hard not to wish that the shambling material had been constructed into a more cohesive whole.

Henry & Me is a heartwarming tale that should prove irresistible to young baseball fans.

Filmmaker Harry Michell doesn't quite stick the landing in his sophomore feature, aiming for a complex mixture of comic irreverence and sensitive character study. But he does earn points for creative ambition, and Say Your Prayers, benefiting from a terrific ensemble, has enough entertainingly startling moments to mark its filmmaker as capable of bigger and better things.

While it offers some mildly frothy diversions, the Pedro Almodovar-styled Cupcakes lacks the cinematic nutrition to overcome its empty calories.

Shot in actual 3D rather than being the latest example of the horrible post-shooting conversion process, "Afterlife" undeniably looks terrific.

While its narrative elements threaten at times to descend from whimsical into hopelessly twee, My Name Is Emily ultimately finds a proper, if not particularly compelling, balance.

While visually stylish and thematically ambitious, Secret Things is ultimately more preposterous than provocative, its vague explorations of sexual and class struggle failing to coalesce in a coherent manner.

Takes a surprisingly gritty approach that gives the material some gravitas but also robs it of some of its fun.

The well-chosen profile subjects prove both engaging and sympathetic in their fears and desires, giving the film a much-needed emotional resonance.

Tokyo Decadence, a midnight film if there ever was one, is the ultimate date movie for the S&M crowd. [30 July 1993]

Nonetheless, Ghostbusters: Frozen Empire tries hard, very hard, to satisfy the series’ fans with plenty of nostalgic throwbacks and mainly succeeds.

The film, marking Ben Hernandez Bray's directorial debut, is mainly a violent police procedural and vigilante drama that succeeds well enough on those terms. It's also notable for its almost entirely Latino cast and deep immersion into East Los Angeles culture. The pic certainly looks authentic, despite the fact that it was largely shot in Calgary.

How She Move doesn't exactly break any new ground. But the terrific dance numbers on display should please its teenage target audience.

The doc serves the valuable purpose of shedding a much-needed spotlight on a problem that, as anyone who's recently walked on any city's streets can attest, only seems to be getting worse.

Risen is fairly engrossing in its thriller-like section, with Fiennes' restrained performance providing a solid dramatic anchor and the Maori actor Curtis being a nice change from the usual blonde-hair/blue-eyed Jesus. But when the film shifts into inspirational territory it ironically becomes far more prosaic, depicting the miracles in a low-budget, low-key fashion that will hardly win any converts.

The proceedings have a certain haunted quality, thanks to the dramatic setting and the stark black-and-white cinematography by Steve Cosens that fully conveys its bleakness.

Compensating for its less than convincing special effects with some intriguing plot twists and bracingly nihilistic situations, The Human Race is a reasonably compelling low-budget genre item.

A reasonably amusing effort that manages to poke fun at Brooks' neuroses and governmental blundering with equal skill.

Incident at Loch Ness manages to cross "Project Greenlight" with "The Blair Witch Project" in a way that makes one pine for the originals.

The winning performances by its two leads elevate this contrived Israeli import.

Danger Close provides a vivid portrait of combat and its emotional and physical aftermath. But despite its harrowing footage and moving elements, the film may feel all too familiar to viewers who have become numb in the face of seemingly countless other similar efforts.

While Asbury Park: Riot, Redemption, Rock 'n' Roll too often feels like a promotional video created by a local tourism organization, it nonetheless provides an engaging history of the town and its once-vibrant music scene.

Cogent documentary makes the persuasive argument for the role that U.S. military and corporate interests have played in the influx of immigration from Latin American countries.

Fortunately, the terrific lead performances by Jonathan Pryce and newcomer Jerome Holder are enough to help Dough rise above its formulaic ingredients.

That it all works to the extent that it does is due to its undeniably sweet depiction of a close-knit extended family whose members truly care for and help each other. It's cinematic wish fulfillment in this era of broken families and far-off relatives who keep in touch via social media.

Traded features nary an original element but nonetheless registers as a solid if minor oater.

The documentary will nonetheless strike an emotional chord with anyone who's grown up eating the product it celebrates. And over the course of 100 years, that's a lot of matzos.

A slickly made, effectively atmospheric B-movie suspenser that marks a promising feature debut for its writer/director, who also plays a featured role.

Will best be appreciated by those already familiar with the fashion world in general and Saint Laurent in particular.

While lacking the technical polish necessary to lift it into a more elevated cinematic dimension, Philip T. Johnson's directorial debut earns points for its thematic ambitions and cheeky wit.

Much like its central character, the film at least proves honest in its intentions.

With its clever premise and quartet of appealing comedic star turns, Wild Hogs is a step above the typical comedies rolling off the assembly lines of the major studios.

Delivering a fully committed, moving performance, Thomas Haden Church makes you pay attention to a figure you would otherwise pass by without a second thought.

While only sporadically effective in its attempt at creating a modern-day Psycho, Forgetting the Girl does manage to sustain a sufficiently disturbing mood that is not easily forgotten.