Susan Wloszczyna

Delivers diverting comic fluff for the bland clan's fans. [23 Aug 1996, p.8D]

These guys still know how to not just hold our attention but grab it, even if their current film needs them more than they need it.

But there is a satisfying, old-fashioned "Moonstruck" sensibility at work, one that will be appreciated by folks who like their beef corned and their movies cornier.

Neither as funny and scary as the first, nor as campy and breathless as the second, Alien 3 can only settle for third best. Considering the state of sci-fi movies, that may be enough. [22 May 1992, p.12D]

The film ultimately lets Mirabelle down and leaves the viewer dissatisfied. A "Lost in Translation" drained of its wryly observed humor, Shopgirl is worth a browse. But it isn't always easy to buy.

One glance at the static camerawork that plagues the entirety of Happy Christmas and you might also discern that this is a minimalist mumblecore production, a kitchen-sink-style indie genre that apparently outlaws long shots or close-ups.

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.

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.

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

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.