Tron: Legacy gives us a dud stud named Garrett Hedlund as Sam Flynn, the hero of this petrified sequel to 1982's "Tron." None of what he sees impresses. The feeling is mutual.

Had Spacey made Beyond the Sea 10 or 15 years ago, it might have been close to transporting.

Hunter has a scene with Pacino in a cafeteria where she expresses a degree of emotional pain, just through how she looks at him and holds her head, that’s at once awful to see and magnificent. It’s hard to figure out what Pacino saw in the script. What Hunter saw was this scene and getting to act with Pacino.

Cool killers - Kitano's stock in trade - do not necessarily make for cool movies.

It's acceptable Shakespeare - no more arbitrary than most stage productions, especially the willfully anachronistic ones, or the ones with political agendas thrust upon them. [18 Jan 1991]

Why Branagh and the screenwriter, Michael Green (he also did the two earlier Poirot adaptations), would want to bring actual, real-life horror into a mystery movie masquerading as a horror movie is a mystery beyond the powers of even Poirot to solve.

Miracle at St. Anna is not work of outrage or joy. It's something distressingly new for the filmmaker: a work of obligation. It feels like a movie Lee made in order to say he did it.

The Dawn Treader, like its predecessors, has no real struggle or drama. We're dealing with kids for whom everything comes too easily for us to care.

One wonders if a director more playful than Kenneth Branagh might have come up with something less hectic and more fun — or even just as hectic and more fun. Taika Waititi, anyone? Jojo Rabbit is almost as odd a name as Artemis Fowl.

Actually, everything in Bowdon’s rant about America’s woeful public school system is important, including Bowdon.

It's not remotely as luscious or half as bold as Malick's movie, but it is shorter and more educational.

It's called Queens and, no, silly, it's not about six gay men who want to get married. It's about their MOTHERS. And this being a Spanish comedy of the lowest Almodovar-ian order, the moms are a lot more flamboyant than their sons.

Notably Wayansless. It's also notably devoid of a point of view.

A slow and silly action-comedy romantic-thriller.

The film’s closing is abrupt and maybe too tidy, but “Coup de Chance” is still a clever little thriller. It displays an admirable economy of storytelling, and its jazz-heavy soundtrack helps maintain a jaunty mood.

The role of investment banker Naomi Bishop seems right for Gunn, no question, and it’s one that she approaches with conviction. So why is it so hard to root for her, or for any of the characters here?

The film is very near a comedy, and I'm not sure that's on purpose.

Any originality in this new movie is overwhelmed by its lazy eagerness to embrace the new standard for R-rated comedy.

The Mighty Macs sticks so closely to the underdog-sports-movie playbook that it's practically generic.

As far as rehashed sequels go, “The Super Mario Galaxy Movie” could have been worse. That it’s slightly better holds out hope that the inevitable third film will be a major power up in quality.

While the movie seems designed to be a breakout for Jang, it's Lee whose work actually makes an impression.

A comparison to Baz Luhrmann is useful: Where Taymor self-consciously aestheticizes pop vulgarity, a movie like "Moulin Rouge!" just dives right in.

The result is a clattery, unfocused affair that at times is more irritating than fun.

A date movie “Monkey Man” is not.

It'll be a test of whether Cruise's star power and De Palma's ability to seduce audiences with visual style can compensate for a fundamental hollowness at the center. Mission: Impossible plays like a project trying to become a movie and not quite making it. [22 May 1996, p.63]

Mark Felt is a drama about an aggrieved control freak, which would be fine if director Landesman openly acknowledged it. He’s torn, though between offering a heroic celebration of the republic’s underappreciated savior and a more damning character portrait of a man who, for complex reasons, ended up doing the right thing.

All in all, the movie’s a muddled and overlong experience, one that every so often drifts into dull, unintentional camp.

Although his (Jarmusch) films have moments of sly obliqueness, they leave us feeling stranded in underdevelopment. This is the case with Night on Earth, which is launched on a promising conceit - nocturnal taxi rides in five cities around the world during the same time slot. By the time the film ends, we can't help wondering just who has been taken for a ride. [15 May 1992, p.85]