It is rousing and entertaining, and you get your money's worth.

Even though Uncle Drew is outlandish and predictable and downright corny, I loved the positive energy of this film, I got a kick out of the winning performances from a cast of All-Star comic actors and All-Star, well, All-Stars — and I laughed out loud at a steady diet of inside-basketball jokes.

it is a well-acted movie and for long stretches we're hoping it will work.

Walker finds an unexpected wit and depth in her character. [7 Aug 1992, p.38]

The Devil Has a Name is a master class in casting.

The new Japanese film Fireworks is like a Charles Bronson "Death Wish" movie so drained of story, cliche, convention and plot that nothing is left, except pure form and impulse. Not a frame, not a word, is excess.

A messy but hungry film like this is more interesting than cool technical perfection.

The breezy and cheeky Extra Ordinary (that’s how they’re spelling it and you’ll find out why if you check out the movie) is a romcom/possession movie with some of the biggest laughs in any film this year — and some pretty nasty and cool special effects as well.

A slice-of-life film like you have not seen. It is the story of people in a small ordinary town, knowing nothing but their ordinary affairs, revealing their sins and crimes with an ordinary negligence.

Ghost movies like this, depending on imagination and craft, are much more entertaining than movies that scare you by throwing a cat at the camera.

Against the Ropes meanders until it gets to the final third of its running time, and then it catches fire.

This is a weird, psychological sexual thriller clearly designed to get a rise out of audiences. It’s also pretty damn engrossing.

A sweet, entertaining retread of an ancient formula, in which opposites attract despite all the forces arrayed to push them apart.

Moonraker is a movie by gadgeteers, for gadgeteers, about gadgeteers. Our age may be losing its faith in technology, but James Bond sure hasn't.

What it all comes down to is a skillfully assembled 130 minutes at the movies, with actors capable of doing absurd things with straight faces, and action sequences that toy idly with the laws of physics.

Lovingly detailed with animated and archival imagery, For No Good Reason shares the fine-grain layered style of its subject.

Sleepless in Seattle and Only You and now Love Affair, all movies about nice people getting into goofy misunderstandings because they love one another so much.You have to be in the right mood to enjoy movies like this. Or maybe they put you in the mood.

Without a doubt the best film we are ever likely to see on the subject - unless there is a sequel, which is unlikely, because at the end, the Lincolns are on their way to the theater.

There is a whole genre of films about childhood friends still living in the old neighborhood and going down the drain of crime and drugs. Few of them capture the fatigue and depression, and the futility, as well as this one, in which the characters hold on to their self-respect by obeying the very rules that are grinding them down.

We know where Moore stands on the political spectrum, but Fahrenheit 11/9 isn’t an anti-Republican screed. He’s arguing, quite convincingly, it’s the system that’s broken, with career politicians on both sides of the aisle culpable and accountable.

Elegantly, even languorously, photographed by Jose Luis Alcaine, who doesn't punch into things but regards them, so that we are invited to think about them. That doesn't mean the movie is slow; it moves with a compelling intensity toward its conclusion.

Mark Ruffalo is a master at playing a certain type of earnest character who often wears a quizzical expression — not because he’s slow on the uptake, but because he’s the smartest person in the room and he has questions no one else has even thought to ask.

To the credit of Orley’s screenplay and Davidson’s smiling-devil performance as the charming but toxic Zeke, we can understand how a vulnerable teen could mistake a loser for a legend — and we’re rooting like hell for the kid to realize that mistake before it’s too late.

Mrs. Harris Goes to Paris is the very definition of a feel-good movie. It knows exactly how to press our buttons and we’re fine with that, because we’re just happy to witness this seemingly invisible woman have her well-deserved moment to shine.

Miracle Mile has the logic of one of those nightmares in which you’re sure something is terrible, hopeless and dangerous, but you can’t get anyone to listen to you.

Cats Don't Dance is not compelling and it's not a breakthrough, but on its own terms, it works well. Whether this will appeal to kids is debatable; the story involves a time and a subject they're not much interested in. But the songs by Randy Newman are catchy, the look is bright, the spirits are high and fans of Hollywood's golden age might find it engaging.

Not since young Hutter arrived at Orlok's castle in "Nosferatu" has a journey to a dreaded house been more fearsome than the one in The Woman in Black.

Played as a satire, it offers far too few genuine laughs, and we’re left somewhere between mockumentary and depressing character study.