The plot of Touch sounds like a comedy. But the experience of seeing the film is subduing; the movie plays in a muted key.

Bottle Shock is more than the story. It is also about people who love their work, care about it with passion and talk about it with knowledge.

It has a charm based on its innocence, its conviction, its pre-Beatles soundtrack and the big 1950s cars the kids drive around in.

Although it is not a great movie, it contains some moments when the audience is likely to think, yes, being 16 was exactly like that.

This is Grillo’s film to carry, and he pulls it off with a combination of brute force and light charm.

There seem to be two movies going on here at the same time, and December Boys would have been better off going all the way with one of them.

Even when writer-director Cooper’s adaptation of Louis Bayard’s acclaimed novel takes some insanely big dramatic swings and doesn’t always connect, Bale is immersed in his performance — equally powerful when he’s quietly revealing a painful moment from his past or exploding with the earth-shattering rage.

The film is built around two relationships, both touching, both emotionally true.

This is not so much a film about understanding the numbers, but understanding the men who made us see their merit, and the passion that drives each of us to find the true meaning in our lives. And that is a worthy lesson indeed.

As amiable and formfitting as Ghostbusters II can be, it's a thin, dimly conceived affair. For all its rave-up special effects, it adds little to director Ivan Reitman's original, which itself was no fountain of wit but at least had a fresh gimmick going for it. [16 Jun 1989, p.37]

The beauty in this film is in its directness. There are some obligatory scenes. But there are also some very original and touching ones. This is a movie that has its heart in the right place.

The guests at the dinner are a strange lot. To describe them would be to give away their jokes, and one of the pleasures of the movie is having each one appear.

I was entertained, and yet I felt a little empty-handed at the end, as if an enormous effort had been spent on making these dinosaurs seem real, and then an even greater effort was spent on undermining the illusion.

It's the kind of movie you can sit back and enjoy, as long as you don't make the mistake of thinking too much.

As it is, the movie goes in one direction and the cable guy goes in another, and by the end we aren't really looking forward to seeing Jim Carrey reappear on the screen.

WQhat would it really be like to huddle in a wrecked aircraft for 10 weeks in freezing weather, eating human flesh? I cannot imagine, and frankly this film doesn't much help me.

It's fun to watch 2 Days in the Valley” in the moment, and then fun afterward to think about the way the story was put together, and all of those lives connected.

An eccentric period melodrama with horror-flick overtones. Occasionally incoherent but never dull, the movie brims with weird imagery.

It’s not in the same league as “Playbook” or “Hustle,” but thanks to some memorable set pieces and the best performance by Jennifer Lawrence since her breakout role in “Winter’s Bone,” the sometimes-bumpy journey is worth your investment.

I didn't laugh much. I don't think the Stooges are funny, although perhaps I might once have. Some of the sight gags were clever, but meh. The three leads did an admirable job of impersonation. I think this might be pretty much the movie Stooges fans were looking for.

The movie creates such an urgent situation, and fills it with such interesting characters, that when everything goes wrong at the end I felt more than disappointed, I felt cheated.

Betty Blue is a movie about Beatrice Dalle's boobs and behind, and everything else is just what happens in between the scenes where she displays them.

You could think of Larry Clark's Wassup Rockers as "Ferris Velasquez's Day Off."

It's strange about Stir Crazy. We go in with big expectations, and we laugh so much at the beginning that we're ready for the movie to launch itself as a hit. And then it all goes flat and we come out disappointed.

The principal pleasure of the movie is in the ensemble work of the actresses, as they trade one-liners and zingers and stick together and dish the dirt. Steel Magnolias is willing to sacrifice its over-all impact for individual moments of humor, and while that leaves us without much to take home, you've got to hand it to them: The moments work.

We know Kline can play kooky (he won an Oscar as Otto in "A Fish Called Wanda"), and he does it very well, but the effort can become exhausting after a while.

The story of Black Rain is thin and prefabricated and doesn't stand up to much scrutiny, so Scott distracts us with overwrought visuals.

3-D is a distraction and an annoyance.