Mark Caro

The actors and writing lend unexpected dimension to all of the characters, and Lopez's Harry is an indelible antagonist, one who manages to be genuinely big-hearted and evil.

Takes a premise that seems ripe for broad, vulgar joking and turns it into a sly, even subtle, comedy.

Revives the art of smart, scathing movie conversation as it skewers Manhattan's singles scene while providing a goodly number of laughs. Like its subject, the movie may have its prickly moments, but it's awfully fun to watch.

It's funny, moving and true, and it respects the audience's intelligence as much as the characters'. That combination, no matter the movie's label, deserves to be treasured.

A classic haunted-house story enshrouded in fog and steeped in portentous atmosphere. It gives you a case of the creeps oh-so slowly, then hits you with a clever, mind-warping way of saying, "Boo!"

A triumph that deserves a broad audience.

When a culture offers little more than death upon death, appreciating life's everyday beauty is as good an answer as these characters -- and this filmmaker -- can provide.

The Spider-Man saga is a classic for a reason, and the filmmakers don't squander the material's strengths.

The movie is zippy, laugh-out-loud funny, persuasive and at times horrifying, as Spurlock undergoes his unpleasant changes with good humor and bad tummy aches.

This Civil War epic romance is exquisitely shot, lovingly designed and populated with talented name actors. In terms of pedigree and sheer, lush filmmaking, the movie has class written all over it. And that's part of the problem.

The biggest missteps come toward the end, when Prince-Bythewood's storybook instincts get the best of her and force a wrap-up that doesn't feel earned.

Quite entertaining.

The theory seems to be that if you indiscriminately toss in enough familiar ingredients, you get soup. But Graveyard Shift is more like lumpy water. [29 Oct 1990, p.5C]

The surprise here isn't that 15 Minutes isn't a masterpiece; it's that the movie works at all.

Even at a mere 82 minutes, the movie is guilty of killing time. It's not a complete Kaputschnik, but it's sure no Bellini.

Delivers that rare combination of winning traits. It's a low-key comedy with a risque hook -- a seemingly straight woman dabbles in lesbianism -- yet it maintains an old-fashioned faith in literate dialogue, believable behavior and themes that reach beyond the plot points.

A professionally made movie, just not an essential one. There's little fresh or provocative here, and if you can't be shaken by this story, why bother?

Hellboy's adventures may take him to you-know-where and back, but the movie remains in limbo.

The Rookie may be pushing buttons, but at least they're the right buttons.

What is it about vampires that brings out the worst in filmmakers these days? [16 Aug 1996, p.2]

A throwback to the family films of the 1970s, like one of Disney's goofy capers crossed with "Willy Wonka and the Chocolate Factory."

A small movie about big emotions, with Green capturing the rush of love and sting of heartbreak with great vividness.

With the movie's attentions spread so thin, almost everything begins to seem peripheral - even if almost every loose end is tied together, no matter how unlikely the connection.

Presents a few too many hugs and arguments over what's best for Will. But ultimately, the movie, like its protagonist, boasts an integrity and intelligence that are tough not to admire. [25 December 1997, Tempo, p.1]

What lingers are the unsettling feelings, inexplicably potent images and realization that some of life's key crossroads are visible only in the rearview mirror.

With such skilled filmmaking and committed acting on display, Narc is far more a score than a bust.

It's a clever premise but not one that lends itself to an hour and 42 minutes of high jinks. You get the joke quickly.

The movie's title refers to a comment about how people grow at their own rates. Miller's movie has its moments of impressive velocity, but it never quite takes off.