Susan Wloszczyna

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

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]

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

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.

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

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

As with most complicated narratives, it is best to simply sit back at some point and enjoy the ride.

Any movie that can bring to mind a Joni Mitchell song as the credits roll — “Don't it always seem to go that you don't know what you've got 'till it's gone” — has earned its keep.

This dark comedy comes off more giddy than gritty.

This “Beauty” presents a far more inclusive view of the world. One that is awash with a sense of hope and connection that we desperately need right now. If you desire an entertaining escape from reality right about now, be my guest.

Vinny's humor is cooked to al dente perfection. And that ain't just whistling Dixie.

Hayek turns Beatriz into her own breed of wonder woman, Lithgow’s Strutt is definitely a super villain of sorts and their head-to-head battle is clearly worth seeing even if, in real life, it has only begun.

There's one reason to see Tim Burton's flawed, somewhat declawed but often amusing do-over of Planet of the Apes. The apes. What else?

Still, you can’t fault a family entertainment extravaganza too much if it actually goes out of its way to integrate the ensemble of a fairy tale in an Old World European setting with a diverse array of supporting players. Branagh deserves an extra bravo just for that. And we mean it sincerely.

It might not always gracefully connect its plot dots, but “Tomorrow” is almost always watchable.

A humorous if occasionally horrific pitch-black satire.

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

The Heart Machine lies somewhere between the AOL love letter “You’ve Got Mail” and the more cautionary “Her” on the issue of what effect all this technology is having on society.

Blast feels positively timely if not downright positive about the human race's ability to endure. Forget radiation. Fraser and folks actually survive three decades-plus of Perry Como music. [12 February 1999, Life, p.8E]

As a distaff version of James Bond in Spy, Hollywood’s reigning empress of ha-ha Melissa McCarthy has a license to not just kill the audience with laughter but also to slay us with her acting skills.

This sturdy regal period piece provides a perfect opportunity to properly adore the 82-year-old legend as she revisits the role of Queen Victoria two decades after first playing the indomitable monarch in “Mrs. Brown.”

The cameos are out-of-sight, though the gay jokes and sexual innuendoes are overdone. But even if you don't know Peter from Bobby, you'll still be apt to find the Brady brand of geeky optimism thoroughly infectious. [17 Feb 1995, p.1D]

This twisted romance possesses the soul and edgy atmosphere of an independent film but not quite the conviction.

To redo such a sentimental gem without Hepburn's incandescence to light the way seems foolhardy at best, but director Sydney Pollack (Tootsie) miraculously almost pulls off his updated homage simply by choosing well and popping enough champagne corks to make us believe the wealthy are still glamorous despite Donald Trump. [15 Dec 1995, p.1D]

I applaud whoever thought of casting Jennifer Beals as Sam’s mother, the lone grown-up who has any real impact.

Does it matter that the trajectory of The Eagle Huntress feels scripted at times and the actions we witness are sometimes staged or even manipulated? Somewhat.

This is one of the most relaxing experiences I have had watching a movie in a long time.

When we first see Meryl Streep's happy homemaker in One True Thing, she's a domestic dinosaur circa late '80s, a regular mommy monster. [18 September 1998, p.3E]