Steve Persall

A moviegoer's reaction to Mr. Holland's Opus depends mightily on what personal baggage he/she takes into the theater. The right audience will discover that Herek's film can be a stirring, sentimental testament to educators. For more daring types, Mr. Holland's Opus may be the multiplex equivalent of a tough required class; easy to sleep through, and dismissed not a moment too soon. [19 Jan 1996, p.8]

Whatever his motivations or deeds, Gordon Gekko is a classic screen character and Douglas is never better than when playing him.

Solid work from an actor long thought incapable of as much. [6 Dec 1996, p.5]

Penguins of Madagascar is fun while it lasts, and then mostly forgettable except for whatever shake-your-head lunacy sticks.

In any language with anyone at the helm, Lisbeth is still a killer.

Bran Nue Dae is a strange change from the usual multiplex fare, and that's nearly enough to make it wonderful.

The movie is like an old vinyl LP; the best cuts are on the first side, there's a bangup finish and a lot of filler material in between.

It's the nicest Mother's Day gift available at the movies this weekend.

Megan Leavey does the feel-good job everyone intends, an interesting story straightforwardly told. Cowperthwaite and Mara won't get a fraction of Wonder Woman's audience yet deserve as much respect.

This is a solid, sincere affirmation of faith and forgiveness. Praise the Lord, and pass the popcorn.

In spite of its incessant piling on of double-crosses and triple dog dares, Focus is a pleasant change from Academy Award seriousness. It's reassuring to see Smith resurrect the charisma that After Earth stripped away, and nice to see Robbie do anything, anytime.

For those viewers who've watched Stewart's recent progression in offbeat films like Camp X-Ray and Still Alice — when she held her own opposite Academy Award winner Julianne Moore — it shouldn't be a surprise. Clouds of Sils Maria matches Stewart with another Oscar honoree, Juliette Binoche, with equally impressive results.

The stories might work better separately as uninterrupted short films. Combined, they lack cohesion but suggest that Coppola has a fine framing eye and ability to guide actors to good work.

It's a familiar, straightforward story, carried from start to finish by Winstead, who makes Kate an interesting study in contradictions.

Reese Witherspoon can do a lot of things as an actor but playing a damaged-goods Depression era dame isn't one of them.

Gutt is a wonderful villain, something the franchise has lacked, and even performs an original musical number - an Ice Age first, if I'm not mistaken. Dinklage has a sinister voice, and a subtle way of expressing the character's sillier moments.

The movie seldom bridges the gap between education and entertainment, a trait that made "March of the Penguins" a must-see multiplex experience.

David Hare's screenplay based on Lipstadt's book is intrinsically stacked toward her eventual triumph, with each familiar step worth watching.

Above all else, Blues Brothers 2000 becomes an immensely appealing musical romp after the introductions are complete. [06 Feb 1998, p.8]

White-knuckle fun.

A tidy terror flick, and refreshing with its intention to make viewers gasp rather than gag.

As Kay and Arnold lurch toward intimacy, the roles bring out a playful side seldom seen in Streep and practically never in Jones, his signature surliness melting into disarming smiles and tenderness.