Susan Wloszczyna

Rarely do I find a movie that is so appalling if not outright insulting to all of humanity (and particularly, in this case, womankind) that it gives me a stomach ache.

Mistaken for Strangers was a group effort. And also an act of love.

It is never a good situation when a subtitled foreign release is highly dependent on words to get its point across—especially when those words are supposed to make you laugh.

When Michell is on his game, as he definitely is with Le Week-End, he unearths small, invaluable and even profound truths about the human condition that are often as inspiring as they are devastating.

At least it's admirable that Donohue manages to do almost all his shooting with either web cams, phone cams or surveillance cameras. But that does not translate into an entirely enjoyable viewing experience. Plus, there are almost no real shocks or scares to rattle you out of the stupor that inevitably develops from observing someone else fiddle with their laptop for much of the running time.

A tidy and tension-filled exercise in terror that takes stage fright to literal extremes.

If Nancy Meyers ever decided to dabble in gothic romance, it probably would turn out to be something like The Face of Love.

If I wanted to read my way through a film that features words dancing around the screen as if they were waltzing Post-Its, I would have sat through a foreign movie with subtitles instead.

There is one thing about Barefoot that makes it at least a guilty pleasure. Once you ignore how improbable Daisy is — there is something oddly captivating about Wood's performance.

It is less of a horror flick and more of a suspense thriller with sci-fi elements that possesses both brains–some sacrificed in messy fashion, of course–and a heart, as it makes a statement about an imaginary social issue that reflects those conflicts facing our country today.

Cusack's distinctive handling of his sullen poet offers an opportunity for Adult World to make a statement about youthful ambition and middle-age disillusionment beyond Billings dubbing Amy and her peers as "Generation Mundane." But the film just stops short of truly achieving that goal.

Both David-Stahl and Bell are appealing actors but unfortunately their easy-to-relate-to storyline is pretty much upstaged by the rowdy air-sex scenes.

Everything in The Lego Movie is, indeed, awesome.

At Middleton is the just the sort of trite if inoffensive diversion that barely tiptoes into theaters before landing in the cable and video-on-demand listings.

At the very least, the makers of That Awkward Moment should get credit for savvy casting.

There is that feeling you get inside when a movie suddenly starts to push your every button, creating an emotional connection that goes beyond pure reason and mere emotion. It elevates your mood to such a point that you wish you could hug the screen out of sheer joy and recognition. That is what Gloria did to me.

Some have compared Maidentrip to a young female version of Robert Redford's "All Is Lost". But in Dekker's case, all seems to be found.

Once this self-consciously campy fairy tale stops trying so hard to emulate every high-school comedy and TV show from the past 30 years and relaxes into a stream of clever repartee and amusing situations, it eventually offers enough LOL opportunities to deserve a passing grade.

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.

While Lutz might possess the beefcake to fill out his chest armor, he lacks the acting chops to make us much care about the fate of his gleaming hero who looks as if he just stepped out of a Beverly Hills salon.

If the boozy epic confrontations of "Who's Afraid of Virginia Woolf?" or "Cat on a Hot Tin Roof" are your definition of a good time, then this is the place to be.

Heisserer doesn't get everything right, but he sure knows how to milk a taut ending, including a miraculous final shot, one that would have drawn tears even if Walker were still around. For those who wish to see the actor at his best, Hours is worth the time.

An intoxicating kiddie cocktail for young-at-heart adults, inspired by a Disney fairy tale based on fact: the making of "Mary Poppins."

Crave, a creepy and deliberately paced thriller that is effective in its unpleasantness.

Most of its pleasures come from the way it confounds expectations.

With each on-screen chapter, the poor girl from District 12 continues to fulfill her destiny as an inspiration and a rebel fighter. She is but one female, but she's the perfect antidote to the surplus of male superheroes out there.

If Sunlight Jr. does anything, it is to shine a light on the fact that the American dream is a dormant notion for far too many.

That the stars of the show are none other than the esteemed Richard Griffiths and Richard E. Grant in invaluable cameo roles and that they end up provoking some of the biggest laughs of the movie demonstrates why Curtis is a comedy genius.

As a piece of filmmaking, Torn is slightly above TV-movie quality.

A somber, meditative, almost poetic film that delivers the horrors of bondage stripped down and head-on.

The balcony scene takes a tumble. This is movie's greatest disappointment. Really, if you can't get this right, then why even do Romeo and Juliet?

It's one of the most emotionally draining climaxes of the year.

Wisely, Kornbluth strives to put a human face on the situation, focusing on several families who represent hard-working citizens who are barely making ends meet with their shrinking paychecks—let alone building up any savings.

The director was smart enough to take a trait that often caused an actor to be be typecast as a menacing figure and turn it into a strength.

I might have tolerated the film much more with the sound off. With the volume on, this movie feels like a mucho-macho Saturday morning cartoon—specifically Bugs Bunny toying with his eternal pursuer, Elmer Fudd.

All this sounds eminently promising. But it would need a wordsmith as witty and wise as Emma Thompson, who won an Oscar for adapting the big-screen version of 1995's "Sense and Sensibility," to pull it off and do Austen herself justice.

Save for a few references of being abandoned by his birth parents and adopted later, the source of Jobs's jerky behavior never is revealed.

Planes modestly succeeds. Very modestly.

Needless to say, the shapely Aniston pulls it off without a hitch — even if she never actually appears without a stitch. If this gutsy performance leads to better opportunities—a remake of Demi Moore's ill-conceived "Striptease," perhaps — I might sleep better at night.

A good Woody Allen flick is a thing of joy these days and, at times, Blue Jasmine is even a great one, close to being an equal to 2005's "Match Point."

A certain sloppiness prevents The To Do List from entering the female coming-of-age pantheon of "Sixteen Candles," "Clueless" and "Mean Girls."

Especially strange: A gimmicky cameo by an actress who outclasses all previous goings-on.

Only a grouch wouldn't be a little tickled.

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.

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

More moronic than demonic. [20 Aug 1990]

Under the guise of delivering one of the most overworked of messages - adults are dolts, kids rule - North fails such basics as a compelling story, fleshed-out characters and a brisk, bright pace. [22 Jul 1994, p.5D]

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.

This is the best Seagal yet - written by J.F. Lawton, who also did Pretty Woman, oddly enough. But let's not go overboard. The convoluted plot treads water far too long as the good guys on land discuss strategy in a Dr. Strangelove-style conference room. The violence is way too graphic as Seagal treats the hijackers as if they were cheap cuts of beef. And Erika Eleniak's centerfold bimbo may be played for laughs, but it's no joke when she's the token woman. Then again, it's too much to expect an action top dog to learn too many new tricks. [09 Oct 1992, p.8D]

Guilty of inciting a near-laugh riot thanks to an irresistible leading lady whose comic instincts are as impeccable as her manicure.

Director Gillian Armstrong takes the delicate snow globe that is Little Women and gives it a bold new shake. [21 Dec 1994]

It could be worse.

Too much talk, not enough wooing. In the end, Ever After's spell is only half cast. [31 Jul 1998, Pg. 07.E]

A truthful ad for Crazy People? How about ''You already heard all the best jokes in the commercial.'' [11 Apr 1990, p.4D]

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 rubber-limbed Carrey may not yet be in the hyper-manic league of Jerry Lewis or Robin Williams, his psychotic energy goes a long way to make this plot-anemic comedy palatable. [04Feb1994 Pg. 07.D]

This is one Road whose gold apparently got paved over.

But Problem Child's biggest problem is its young star, 8-year-old Michael Oliver. You tend to take such natural child actors as Dick Tracy's Charlie Korsmo for granted until one comes along who should be delivering newspapers instead of movie lines. [30 July 1990]

Light as a feather. [8 March 1996, p.D1]

It settles for the recycled emotions of the past despite the fact "Schindler's List" has forever made such treatment shamefully passe. [18Apr1997 Pg.03.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]

Its rewards may not be eternal, but Heart and Souls will likely satisfy those who love their chuckles choked with tears. [13 Aug 1993, 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.

The snappy sci-fi hoot Men in Black...is a kind of "Independence Day" for smart people.

Thank the wizardry of Jim Henson's Creature Shop, well-choreographed martial-arts fights and sharp direction by video whiz Steve Barron (he did Michael Jackson's Billie Jean) for keeping these comic-book heroes from going amok like Howard the Duck. [30 Mar 1990, p.1D]

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

Far from redundant. That's because (Kirk) Wong deftly balances the outrageous stunts. [24 April 1998, p. 6E]

Director Stephen Herek does an admirable balancing job, though the movie slows whenever the animals solo onscreen. [27 Nov 1996 Pg.01.D]

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]