Stephen Cole

A furious 90-minute trailer of a movie that exceeds the speed limit for action films established by Quentin Tarantino's recent "Grindhouse."

Horror fans anticipating grisly laughs are in for a jolt. Because the new Last House, though terrifying, is never, ever fun.

The humour in Accepted is maddeningly safe.

Letting Shrek get grumpy again has freshly animated this cartoon series.

A miraculous, American-made Hindi film that is every bit as tranquil as the blue-green reservoir that serves as its abiding metaphor.

For all North Country's blockbuster elements, the film remains a curiously uninvolving affair.

Brian and Dom could drive from L.A. to Mexico City and back blindfolded, but would require a GPS to find the zipper of a dress. The only time they smile here is when they are alone in a garage, tinkering with their dream cars.

Robocop isn't going to win Verhoeven any medals - the focus remains on action, guns and gore - but it's a flashy movie with enough wit to be more than just another dumb bucket of bolts. [17 Jul 1987]

Who wants to watch any film where Sarandon, the sexiest 60-year-old woman alive, is first prize in a corn-eating contest?

Are any of his stunts funny? Yes, one scene is worthy of Borat and Mack Sennett's Keystone Kops.

The film is never as powerful or convincing as it should be.

By hiring James Earl Jones to narrate, Disney has prepared youngsters to understand that man is equally capable of heroism and villainy.

What's so distressing about Michelle Pfeiffer taking a mooning calf for a lover, though, is that it robs her of the quality that has always made her such an interesting actress.

Like "Rebel", directed by Nicholas Ray, this film excels at capturing the nervous posturing of adolescent boys marking their territory by pissing on each other's shoes.

There is also a capable, wisecracking stewardess (Julianna Margulies) and, what a surprise, a steward who appears to be doing a Paul Lynde impersonation.

There is no getting these boys down. They are just like Lloyd and Harry in the Farrelly brothers' breakthrough 1994 hit, "Dumb & Dumber." Except that they are never, ever funny.

Scott means for his entertainment package to be hip, hysterical fun. But his stylistic embellishments and indiscriminate appetite for sensation crowds his title character right out of the film.

More than anything, the film lacks a rapport with its audience.

As expected, it has gaping holes where back stories used to be. Still, it's a historical war movie with impressive sweep, strong characterizations and the kind of idiosyncratic flourishes that made Woo such an irresistible storyteller.

We leave this movie hoping to see Miller and Lewis together again soon.

Once Bullock's character clears her head at the top of the thrill ride, Premonition becomes inescapably dull because it is her mental health, not her purposefully dull husband's fate, that interested us.

Your Mommy Kills Animals works best as a fast-moving carnival of faces and feature stories. Like most amusement-park rides, it lets you off dizzy and confused, whereas the best documentaries leave you feeling that you've come to a settled perspective on a subject.

It's Duvall and Murray who make Get Low a small, wonderful thing.

A splendid adventure sure to thrill children and fantasy buffs, while leaving everyone else passably entertained.

A little bit of "Crime and Punishment" and a whole lot of "The Postman Always Rings Twice," Revanche, the Austrian candidate for last year's Best Foreign Language Film, is a surprisingly unruffled tale of love, thievery, murder and revenge.

Tetro is Coppola's best film since Apocalypse Now because the filmmaker has abandoned conventional drama – what for him had become a straightjacket – indulging in a collage style that allows him to honour favourite filmmakers.

Barrymore's charm helps make Beverly Hills Chihuahua a congenial family outing.

Fails to ever come alive as a human comedy in the manner of the best mockumentaries.