Delicacy is a sweetheart of a love story, and cornball from stem to stern.

One wonders how In the Mouth of Madness might have turned out if the script had contained even a little more wit and ambition.

“Axel F” is the very definition of passable, comfort-viewing, nostalgia-tinged entertainment. It’s a good-looking film, and it’s wonderful to see Eddie Murphy returning to one of his signature roles and pumping it back to life after he sleep-walked through “Cop III.” It’s just a shame they got the band together after three decades, only to have them perform by-the-book renditions of the same old songs.

In its clumsy way, it throws in comments now and then to show it knows the difference between Arab terrorists and American citizens.

Knight of Cups is a ponderous affair, never taking 30 seconds to make a point when four minutes is available.

It is well-made, well-photographed and plausibly acted, and is better than it needs to be.

[A] dark and wickedly funny and sometimes flat-out wiggy little number.

Baby Boom makes no effort to show us real life. It is a fantasy about mothers and babies and sweetness and love, with just enough wicked comedy to give it an edge.

The chaos in Kika is so brilliantly orchestrated, and so gamely acted, you can't help being drawn into it. There is, truly, never a dull moment. And, in patented Almodovar fashion, the bold, kitschy colors of the costumes and settings, provide their own charm. [27 May 1994, p.43]

Here is a 145-minute movie containing one (1) line of truly witty dialogue: "Her 40s is the last age at which a bride can be photographed without the unintended Diane Arbus subtext."

The movie works because it is, above all, sincere. It's not sports by the numbers. The starring performance by Kuno Becker is convincing and dimensional and we begin to care for him.

Pretty much a mess of a movie; the acting is overwrought, the plot is too tangled to play like anything BUT a plot, and although I know you can create terrific special effects at home in the basement on your computer, the CGI work in this movie looks like it was done with a dial-up connection.

The Rise of Skywalker rarely comes close to touching greatness, but it’s a solid, visually dazzling and warmhearted victory for the Force of quality filmmaking.

It’s like a low-budget, Canadian version of “Ocean’s 11,” with about half as many characters and about one-tenth the charm and style.

It's awkward, not because of the subject matter, but because of the contrasting acting styles. Here are two men trying to communicate in a touchy area and they behave as if they're from different planets.

At the end of the movie we are conscious of large themes and deep thoughts, and of good intentions drifting out of focus.

I liked the movie. I smiled a lot. It maintained its tone in the face of bountiful temptations to get easy laughs.

What's admirable about Being Flynn is that it doesn't cave in to the standard Hollywood redemption formulas, with the father redeemed and the son inspired. It's more complicated than that.

Too clever by half. It's the worst kind of con: It tells us it's a con, so we don't even have the consolation of being led down the garden path.

For a grimmer and more realistic look at this world, no modern movie has surpassed Karel Reisz's "The Gambler'' (1974), starring James Caan in a screenplay by self-described degenerate gambler James Toback.

A high-tech and well made violent action picture using the name of Robin Hood for no better reason than that it’s an established brand not protected by copyright.

The movie has great moments and a lot of life, sensational special effects and costumes, and Ross, Jackson, and Russell. Why doesn't it involve us as deeply as The Wizard of Oz? Maybe because it hedges its bets by wanting to be sophisticated and universal, childlike and knowing, appealing to both a mass audience and to media insiders. The Wizard of Oz went flat-out for the heart of its story; there are times whenThe Wiz has just a touch too much calculation.

The movie's excellence comes from Foster's performance as a resourceful and brave woman; from Bean, Sarsgaard and the members of the cabin crew, all with varying degrees of doubt; from the screenplay by Peter A. Dowling and Billy Ray; and from the direction by Robert Schwentke.

The bottom line is, all these people chase the same money around with the success of doggie tail-biting, and it's a lot of fun, and it's not often in these con films that everybody is conning everybody, and they're all scared to death, and nobody knows which cup the pea is under.

Cronenberg has made a movie that is pornographic in form, but not in result.

The movie is too pat and practiced to really be convincing, and the progress of Ariel's relationships with the two grumps seems dictated mostly by the needs of the screenplay. But Matthau and Lemmon are fun to see together, if for no other reason than just for the essence of their beings.

A somewhat convoluted and occasionally formulaic but disturbingly effective legal political procedural.

The characters deserve a better movie, but they get a pretty good one.