"Kolya" was as emotionally authentic and original as Dark Blue World is derivative and not compelling.

Is Bachelor Party a great movie? No. Why do I give it three stars? Because it honors the tradition of a reliable movie genre, because it tries hard, and because when it is funny, it is very funny. It is relatively easy to make a comedy that is totally devoid of humor, but not all that easy to make a movie containing some genuine laughs. Bachelor Party has some great moments and qualifies as a raunchy, scummy, grungy Blotto Bluto memorial.

The 24th is an important reminder of a dark chapter in American history.

Told in solid, straightforward, traditional documentary style and relying heavily on voice-over interviews from unspecified time periods, old TV clips, behind-the-scenes footage and period-piece still photos, Mr. Saturday Night tracks the Australian-born Stigwood’s trailblazing career in its entirety — but a great deal of focus is on the fascinating tale of how Saturday Night Fever came to be.

Essentially an interlacing of irony and gotcha! Scenes.

Wicked and cheeky.

Eraser is more or less what you expect, two hours of mindless nonstop high-tech action, with preposterous situations, a body count in the dozens, and Arnold introducing a new trademark line of dialogue (it's supposed to be "Trust me," but I think "You're luggage" will win on points).

This is DeLillo's first produced screenplay, but he has written for the stage, and perhaps his portrait of Steven Schwimmer (Robert Downey Jr.), the detested critic, is drawn from life.

Woodley is a stronger screen presence than the low-key Claflin, but they have a lovely and natural chemistry together.

Michael Dorman (virtually unrecognizable and about 40 pounds lighter than when he played Gordo Stevens in the Apple TV+ series For All Mankind) channels James-Dean-meets-Stephen-Dorff in a mesmerizingly good performance as Jesse, a charming bounder who has a good heart and some talent as a singer-songwriter but is always getting in his own way and stepping in some serious, um, stuff.

The movie has been directed by the Farrelly brothers...Here, they're sensitive and warm-hearted, never push too hard, empathize with the characters, allow Lindsey and Ben to become people we care about.

I found In the Land of Blood and Honey to be moving and involving, but somehow reduced by its melodrama to a minor key. The scale of the ages-old evil and religious hatred in the region seemed to make the fates of these particular characters a matter of dramatic convenience.

Down a Dark Hall eventually goes Down a Convoluted Tunnel, with some admittedly creepy but also just plain crazy sequences that play like “Eyes Wide Shut” meets “The Shining.”

This is an A-list cast that consistently elevates the material, even when we’re traveling down some very familiar roads.

This is the kind of movie routinely dismissed as too slow and quiet by those who don't know it is more exciting to listen than to hear.

We’re not even halfway through 2018, but when it comes time to compile my list of the worst movies of the year, I have a strong sense there will be a moment when I’ll be saying to Tag: You’re it.

Here's a movie that lets you know from the start which strings it's going to yank, how hard it's going to yank them, and even how many times. But caught in its emotional rigging, you're unlikely to find yourself bothered by its hokey predictability or strained plotting. However coolly you fight off the film, you eventually find yourself throwing in the towel and allowing your tears to be jerked. [13 Aug 1993, p.37]

Here is a bold, beautiful, visually enchanting musical where we walk INTO the theater humming the songs.

It's a reminder of the days before films got so cynical and unrelentingly violent. A Knight's Tale is whimsical, silly and romantic.

The movie has nowhere much to go and nothing much to prove, except that Stephen King is correct and if you can devise the right characters and the right situation, the plot will take care of itself -- or not, as the case may be.

How Stella Got Her Groove Back tries its best to turn a paperback romance into a relationship worth making a movie about, but fails.

Monotonous, repetitive and sometimes wildly wrong in what it hopes is funny.

It's an exquisite short story about a mood, and a time, and a couple of guys who are blind-sided by love.

Falling Down does a good job of representing a real feeling in our society today. It would be a shame if it is seen only on a superficial level.

A decent futuristic action picture with some great sets, some intriguing ideas, and a few images that will stay with me.

The director, Joseph Ruben ("The Stepfather," "Sleeping With the Enemy"), uses a kind of flat, logical storytelling that leads us inexorably toward his conclusions.

This is an overdirected, overphotographed, overdone movie that is so distracted by its hectic, relentless style that the story line is rendered almost incoherent.

In fact the sequel is a better film than the original, as if writer-producer Luc Besson had a clearer idea of what he wanted to do (and didn't want to do).