The movie is pieced together out of uneven footage, and the idea of a documentary seems to have occurred in the midst of filming.

It offers some valuable insights into Trump’s behavior, and offers a compelling counterargument to some widely accepted notions about whether or not psychiatrists should even be allowed to comment on the mental health of individuals they have not personally treated.

[Stern] comes across as a sincere presence who is almost too polite and doesn’t challenge some interviewees who make wildly inaccurate and sometimes racist assertions based on ignorant viewpoints. But it could be argued his gentle, respectful style of an effective tool to get his subjects to reveal their true selves.

Like The Flintstones and The Addams Family, Casper is an attempt to bring cartoons to life while incorporating them with real actors and sets. As a technical achievement, it's impressive, and entertaining.

A nice little gem of escapist entertainment that keeps us guessing until the very end, which is corny as all get-out and maybe I even got something in my eye.

Perhaps in the next generation a mutant will appear named Scribbler, who can write a better screenplay for them.

The Secret of Nimh is an artistic success. It looks good, moves well, and delights our eyes. It is not quite such a success on the emotional level, however, because it has so many characters and involves them in so many different problems that there's nobody for the kids in the audience to strongly identify with. I guess you could say that the Disney tradition lives, but that the Disney magic still remains elusive.

Thanks in large part to the vibrant, funny, sweet, endearing work by Reynolds and Comer, Free Guy delivers.

There’s no doubting Arquette’s sincere desire to learn the sport and craft of wrestling, to get into shape, to resuscitate his career, to make his family proud. We’re still rooting for the guy.

The plot to this point could be the stuff of soap opera, but there's always something askew in an Alan Rudolph film, unexpected notes and touches that maintain a certain ironic distance while permitting painful flashes of human nature to burst through.

[Benton's] memories provide the material for a wonderful movie, and he has made it, but unfortunately he hasn't stopped at that. He has gone on to include too much. He tells a central story of great power, and then keeps leaving it to catch us up with minor characters we never care about.

What makes Critters more than a ripoff are its humor and its sense of style. This is a movie made by people who must have had fun making it.

A perfectly cast film that depicts a moody world of jazz musicians, drugs and self-destruction.

Mighty Joe Young is not meek and harmless; it's a full-blooded action picture, all right, but with a certain warmth and humor instead of a scorched-earth approach. You feel good at the end, instead of merely relieved.

This buddy/road film builds tension with its missing person quest in a border-crossing underworld.

Alda gives the film's strongest performance. Kinnear, often a player of light comedy, does a convincing job of making this quiet, resolute man into a giant slayer.

The director's cut adds footage that enriches and extends the material but doesn't alter its tone. It adds footnotes that count down to a deadline, but without explaining the nature of the deadline or the usefulness of the countdown.

As you might expect, this is not exactly a hard-hitting expose (I’m not sure what that would even be), but it’s a most welcome change of gear from all the documentaries out there tackling deadly serious subjects. Sometimes we just need to cleanse the palate.

Evolution aside, there are some wonderful images in Aliens of the Deep, even if the crew members say how much they love their jobs about six times too often.

From the start, Koepp sets out to get under the viewer's skin, which he does with relentless ease. [30 Aug 1996, p.32]

Trippy and entertaining mind-bender.

Pitt is at the top of his game, playing a man who has forgotten whatever he used to be and has wholly embraced his role in this war.

[An] uneven but timely and quite funny feminist satire.

The Interview sticks to the anything-for-a-laugh plan for nearly the entire journey, with far too many jokes about things going in and coming out of rear ends.

The De-Dee character subverts those expectations; she shoots the legs out from under the movie with perfectly timed zingers.

The blood-soaked potboiler First Kill is Generous Pour through and through, from Bruce Willis playing a cop for the umpteenth time in his career to the old switcheroo we can see coming a mile away to the pounding and overwrought score to some genuinely effective detours and subplots.

What I like about the movie is its combination of suspense and intelligence. If it does not quite explain exactly how decryption works (how could it?), it at least gives us a good idea of how decrypters work, and we understand how crucial Bletchley was -- so crucial its existence was kept a secret for 30 years.

The Island runs 136 minutes, but that's not long for a double feature. The first half of Michael Bay's new film is a spare, creepy science fiction parable, and then it shifts into a high-tech action picture. Both halves work.