Susan Wloszczyna

But even fans of the original directed by scare-fare king David Cronenberg won't get much of a buzz from this Son of the Fly sequel. It seems that wit and originality are traits that skip a generation. [13 Feb 1989, p.4D]

Visual pyrotechnics and dark humor aside, Three Kings rules because it dares to dig for such truths, whether banal or significant.

All the Drano in the world couldn't fix what's clogging the works in Super Mario Bros. [1 June 1993, p.6D]

A soul-stirring, foot-stomping and inspirational step beyond most in that its final showdown is only the beginning of a path towards a brighter future for the participants.

a painful though sadly humorous portrait of sisterhood deftly written by Leigh's mom, Barbara Turner, and directed with just-right spareness by Ulu Grosbard. [08 Dec 1995]

To Gibson's credit, Face's essential hokiness doesn't sink in until later. Let's hope, though, the Mel Man has flushed this scarface stuff out of his system. [25 Aug 1993, p.3D]

Most filmmakers barely know how to capitalize on Dawson’s talents other than to fill up the screen with her goddess-like beauty. But Rock treats her single mom who boasts a checkered romantic past along with strong opinions as an equal sparring partner.

Pixar might have uncovered the mysteries of our brains with “Inside Out.” But Aardman knows its way around our funny bones.

Deep Cover, directed unevenly by Bill Duke (A Rage in Harlem), is yet another plunge into the seemingly bottomless urban pool of drugs, guns and money. [15 Apr 1992, p.7D]

Despite the compact running time, it is easy to feel that you have come to know—and likely admire—Elizabeth Murray. So, mission accomplished.

It's a clever, multitiered affair built around the title rituals, frosted with delicious characterizations and tasty repartee. [11 March 1994, Life, p.4D]

If all I saw was the first half, I would have given it a shrug and left in a semi-foul mood. But the whole is greater for being two parts in this case, making me glad that I have finally lost my Hong Sang-soo virginity.

The Glimmer Man is strictly a bummer, man. [07 Oct 1996, p.3D]

Instead of ladling on the Scorsese sauce, Robert De Niro's Bronx accent is on semisweet nostalgia. He presents a domestic drama spiced with humor about a boy torn between his working-stiff dad (De Niro in fine regular-fella mode) and Chazz Palminteri's easy-money ways. De Niro doesn't let arty camera angles sub for good storytelling. And he draws memorable performances from two amazing young, new actors. [01 Oct 1993, p. 8D]

The suspense becomes so unbearable that it's easy to overlook questions about whether anyone in such circumstances would continue filming.

This is entertainment worth thumping your chest over. [18 June 1999, Life, p.2E]

The film bobs along like a designer balloon, pumped with wry observations on Marky Mark and Mentos ads. But none of the other cartoonish characters command like twinkly Silverstone.

Isn't all that romantic and is only half as funny as it thinks it is.

This is one of those movies that parents will have to ask themselves if they love their child enough to sit through it. At least "The Nut Job" is off the hook as the worst indie-made animated feature of the year.

Like most of Jarmusch’s films, the emphasis is not on action but interaction—especially the verbal kind. And atmosphere.

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.

Feast upon a career-peak Willem Dafoe performance as a bat-eared fiend who is foul, funny, ferocious, forlorn and unforgettable.

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."

What elevates Hamoud’s screenplay beyond typical Tinseltown fare, however, is what is at stake by rebelling against cultural norms and choosing a liberal lifestyle—namely, bringing shame to your loved ones and being ostracized by your community.

The bloody fingerprints of Quentin Tarantino and the Coen brothers — among other violence-prone auteurs — are smeared all over his tidy and tautly-told Blue Ruin.

The case itself ultimately proves less an involving puzzle for the audience than a lesson for Holmes in humility.

James is a stunner with a breathtaking array of eye-teasers. [12 Apr 1996]

The result might be less fulfilling this time, but “Dory” is ultimately worth the voyage.