Lighthearted fluff, not piercing drama. Still, a little shot of reality -- or at least an acknowledgement of same -- could have done this film wonders.

The most appealing aspect of the movie is that the guys and gal at the center of it don't just love the Star Wars saga for its own sake. They love the way they feel about each other when they're escaping into its universe and sharing all the wonder and the trivia.

Although some clever touches are clearly directed at adults -- much of the film's humor is quite likely to go under your head. [20 Nov 1998]

Spirit lacks that essential emotional resonance, and suffers because of it.

Wilde is a worthy movie that, although helped considerably by Stephen Fry's bravura performance, never breaks out of its static, episodic structure. [05 Jun 1998]

It's hardly great, but it's completely mesmerizing. [02 Feb 1996]

More of a sales pitch than a movie.

The backgrounds, it must be said, are the most impressive features in the picture: Vibrant with color and often deeply evocative, they make you wish something a bit more lively was happening in front of them. [18 Nov 1994]

Goes to such great lengths to show the greatness of its Navy diver hero that it neglects to add much depth to his character - or the story.

Humorous but much too predictable send-up of reality TV and the sheer banality of it all.

A bland also-ran in a post-"Sopranos" universe.

For all its pretensions, Changing Lanes, ultimately, is about nothing more profound than one foul day.

Many inspirational sports movies provide only junk food for thought; this one contains some authentic reflections of sport in the civil rights era.

Great book, great cast, average film: Les Miserables is all pedigree, no passion.

As a movie, Heist is merely an amiable time-killer. But it presents a terrific argument for federalizing airport security.

The fault isn't Clooney's alone. The Coen brothers contrive a few spectacularly funny bits and pieces but rarely get into a flow. Too often they mistake facetiousness for slapstick invention or wit, and they don't follow through on their best ideas.

We'll never know what might have been, as eye candy and food for thought replace real thrills in the cool but cold Minority Report.

Drags on and on and could frighten little kids. But Kenneth Branaugh is one bright light in Chamber of Secrets.

The movie's cinematography is sumptuous, in its own intimate way. But all that's glorious about this film is the flesh tones. There isn't enough flesh and blood.

Taken together, the sum of so many parts is too schizophrenic to be wholeheartedly embraced -- the movie is played for parody, but with a veneer of respectability that leaves the whole endeavor betwixt and between.

It's a tough slog, but worth seeing once. [08 Nov 2008, p.4C]

Jonze lets the magic ebb away in a sorry mesh of strained relationships.

This would be an excellent movie from a first-time filmmaker, but from one of America's premiere directors, it's a disappointment.

Enigma, named for the Nazi secret-coding machine, has everything going for it except a pulse.

As a visual adventure, "The Lawnmower Man" is great fun.

Characters are manipulated and lives made whole in ways both satisfying and unexpected.

A pleasant little confection that leaves behind the sneaking suspicion it should have amounted to so much more.

Beautifully mounted and shot, Rudyard Kipling's Jungle Book still feels somewhat callow. Its title aside, it never really deals with the issues that the great Kipling raised continually in his distinguished body of work.