I have such an unreasonable affection for this movie, indeed, that it is only by slapping myself alongside the head and drinking black coffee that I can restrain myself from recommending it.

The stars hold the film together.

As a family movie, Operation Dumbo Drop is sort of entertaining. As history, it's shameless.

What this movie needs is a clear, spare, logical screenplay. It's all inspiration and no discipline.

Insights into human nature don't seem to be the point of the movie, anyway. It's a slick, trashy, entertaining melodrama, with too many dumb scenes to qualify as successful.

The Soloist has all the elements of an uplifting drama, except for the uplift.

It must have been even more exhausting to make this film than it is to watch it. But it's made with a kind of manic joy that makes me suspect its writer-director, Roger Roberts Avary, might develop into a considerable filmmaker, once he thinks of something to say.

Shyamalan being Shyamalan, Glass does have a distinctive look and some pretty cool moments, and a half-decent twist or two. Mostly, though, it’s an underwhelming, half-baked, slightly sour and even off-putting finale.

In Darkness has the best of intentions, but is a boring dirge, lingering far too long in sewers and wringing as much righteousness as possible out of scenes so dimly lit, they border on obscurity.

There must be more. We will not discover it here.

Wonderful as it is to watch great actors delve deeply into their roles, it’s a shame that the material they are delivering is just so damn confusing.

From start to finish, Judy feels more like a stylized tribute act than an insightful interpretation of the real thing.

Final Analysis is the kind of movie that's a lot more fun to look at than to think about. Maybe that's the point.

The movie exudes a sense of authenticity, of a subject researched well. The major difference, however, between "Network" and "Power" is that "Network" had a plot and "Power" does not.

As Karla turns into Super Mom, brushing off multiple car accidents and more than one attempt on her life, Kidnap provides some easy applause-getting moments but grows increasingly over-the-top.

The movie didn't quite work for me. Its timing wasn't confident enough to pull off its ambitious conception.

Dafoe’s Vincent is a tormented, almost childlike soul who is never comfortable in his own skin, and veers from being monumentally needy to frighteningly rash. It’s a mesmerizing performance in an inconsistent and uneven film.

Broderick is splendid as the gambler. He knows, as many addicts do, that the addictive personality is very inward, however much acting out might take place.

American Flyers is shaky at the core, because it tries to tap-dance around its own central issues.

By movie's end, I'd seen some swell photography and witnessed some thrilling chase scenes, but when it came to understanding the movie, I didn't have a clue.

This movie is lively at times, it's lovely to look at, and the actors are persuasive in very difficult material. But around and around it goes, and where it stops, nobody by that point much cares.

Who would have guessed Dwayne “The Rock” Johnson would deliver the best work of his career playing a guy who squares off against a pack of small-time street thugs.

Every once in a while, a movie like that comes along; a movie you’ve got to see so that you, too, can be in the dark about it.

The movie is not terrifically good, but the premise is intriguing.

The secret may be that Cronenberg approaches his trashy material with the objectivity of a scientist; it is his detached, cold style that makes the material creepy instead of simply sensational.

As good as Gibson is, his character is still caught between the tragedy of the man and the absurdity of the Beaver. Fugitive thoughts of Señor Wences crept into my mind. I'm sorry, but they did.

Despite the obvious rip-offs of other films, the cartoony, slapstick humor does generate enough charm to pull chuckles from a young audience. But too much of the action - the sword-fighting and basketball stunt scenes, especially - looks distractingly fake. [08 Aug 1992, p.26]

How can you forgive a movie that begins by asking you to care who will win freedom, and ends by asking you to care who will win a fight?