Susan Wloszczyna

The Intervention is no embarrassment, and any time a woman is allowed to direct a film benefits the cause. But if DuVall’s purpose was to provide a snapshot of her generation, she should have sharpened her focus and dug a little deeper.

The sad fact is Williams is at his best while trapped in Andrew's original sleek form. His performance is subtle, his reactions restrained. The more Robin is exposed, the more ham is served.

Too bad that the makers of The Nut Job eagerly purloined Scrat's primal motivation—food—but failed to note the charm of his minimalist approach.

Isn't smart enough to cut it as the ultimate blond joke. [25 April 1997, p. 4D]

While Van Peebles' ambitions are epic-size, his results, sad to say, are less so. This is one messy Western omelet - highly edible but overscrambled. [14 May 1993, p.3D]

Hits its silly stride early and never shifts into a higher gear.

But director Jodie Foster and writer W.D.Richter aren't content to serve the usual Planes, Trains and Cliches at their Thanksgiving feast. With her keen actor's instincts, Foster piles on plenty for her terrific cast to chew on and for us to savor. [03 Nov 1995, Pg.01.D]

While the rapping stars of House Party I and II bring a few fresh (as in cool) ideas to the premise, little about this cartoony comedy seems all that fresh (as in not stale). [05 Jun 1992, p.4D]

Parents may be pleased, children will cheer. But it's too bad the movie turtles have had to sacrifice their snap, victims of a box-office shell game. [22 Mar 1991, p.4D]

This boomer-coddling comic fantasy, in which a callous adult on the brink of 40 has a chance encounter with his pudgy, lisping 8-year-old self, is an iffier what-if.

Nothing like a trashy, all-hell-breaks-loose onslaught of blood, bullets and babes that borrows inspiration from a recycling bin stuffed with leftovers from ‘60s grindhouse films, Japanese horror, “Kill Bill,” “Saw” and splatter-fest videogames to cleanse one’s visual palate of those highbrow Oscar contenders.

Regard it also as a well-intentioned clunker. [10 July 1991, p.4D]

But Live From New York! is required viewing only if the network’s own 3½-hour marathon salute to four decades of skit hilarity earlier this year was not enough of a retrospective for you.

Mermaids will satisfy those who like sentiment served on a plastic platter. Others should treat it like 3-day-old fish. [14 Dec 1990, p.5D]

What starts as a bright and bouncy time-waster that at least borrows from the best of its genre-defining ilk -- "Fast Times at Ridgemont High", "Clueless", "Carrie", "The Breakfast Club" -- eventually stumbles into sappy message-movie territory. [29 Jan 1999, p. 09E]

Sinbad steers First Kid past mediocrity. [30 Aug 1996]

It's instantly devoured and quickly forgotten.

Director Hugh Wilson and co-writer Peter Torokvei allow this Driving Miss Daisy with attitude to fully steep, like a cup of fine tea spiked with lemon. [11Mar1994 Pg. 01.D]

The main problem of Monster Trucks is how content it is to take its sweet time before shifting into high-action gear.

Often, Song One feels like the timid B-side of last summer’s more satisfying music-biz saga, the much less woe-is-me and a lot more let’s-have-some-fun “Begin Again.”

Freddy's Dead is fan fare, with little to offer those who aren't already Freddy freaks. [16 Sept 1991, p.5D]

Even with nifty giant bird Nimbly, flying dog-dragon Falkor and Tonto-like sidekick Atreyu along for the ride, Bastian seems to meander more than tumble into fun- filled adventures. For all its echoes of Oz, Fantasia is not much of a merry old land. [11 Feb 1991, p.4D]

Despite Murphy's campaigning, Gentleman deserves a veto. [04 Dec 1992]

Planes modestly succeeds. Very modestly.

In this second round of so-so kung-foolery, three brothers once again strain credibility and make sushi out of new foes. [06 May 1994, p.5D]

The "nonsequel" that regathers the inspired loonies who scaled the heights of giddy anarchy in 1988's "A Fish Called Wanda," is a different comic species. [24 January 1997, p. 3D]

Ultimately amounts to a visually ambitious tone poem about the none-too-surprising caprices of male adolescence.

This joyless coming-of-age travelogue is such a downer that not even breathtaking locales can provide a lift.