The film is distinguished by the grubby velocity of his foot chases, and the effectiveness of its craft.

The movie rips and roars.

A movie that celebrates and mourns heroism and friendship, while reminding us how seldom we truly see either on our big screens.

Delpy has always challenged Hawke to find a simpler, more direct form of acting in Linklater's films, which gives them their unique suspense and rolling tension.

The new Bad News Bears may not make you cheer, but it should provide laughs and a good time. Isn't that what some movies are all about?

Reginald Owen stars as Ebenezer Scrooge, the Christmas-hating curmudgeon who finally gets the spirit in this 1938 adaptation of the Charles Dickens classic. [05 Dec 2014, p.C2]

Stuffed with smart Internet gags, silly movie references and a happy energy that makes you forgive the sequences that don't work.

The performances reveal precisely what Rivette wants to reveal, which is to say, in conventional psychological terms, not a great deal.

Clueless is no "Fast Times" when it comes to character development or the merging of comedy and drama, and it might have worked better if it had been more story-oriented and plot-centered. But thanks to Heckerling's spirited direction and cutting-edge script, it is, "like . . . majorly and furiously golden." [19 July 1995]

A welcome family film that extols noble values and offers first-class animation.

By design, the dialogue from the (fictional) play comments directly on the central, shifting power relationship in the film, sometimes elegantly, sometimes a little awkwardly.

While Represent could’ve used another 20 minutes to flesh out its unguarded moments, this is a strong feature-length directorial debut. Regional politics is local politics is national politics. It’s revealing to see how the sausage gets made, and who gets to make it.

Maybe the problem with Analyze This is that it isn't enough of a Ramis movie. [5 Mar 1999]

This is a rare gem tripped over while making a run-of-the-mill rockumentary about a band's new album.

On a direct line with the whimsical small-town comedies of the '40s and '50s.

The film works best when it pays specific attention to how hard it is to write a rhyme worth hearing.

The story isn’t complicated, and it’s one we know well, rendered with spooky, atmospheric aesthetics and intensely gnarly violence that provide cover for the thin premise, nagging plot holes and flimsy characterization in the script, which traffics in poorly explained archetypes. It’s sufficient enough, but the strength of the filmmaking is not in the writing, but in Barker’s command of style, pace and performance.

Nothing elegant about Adams here, but she's terrific -- a sparkling screen presence. Her Earhart hoists this big-budget sequel above the routine.

Wrings honest emotion and riveting dramatics from its tale.

This one’s more than one kind of comedy, too. It’s a sweet yet nicely vinegary immigration fable; a deadpan fantasy; and a tale of two Brooklyns, one (1920) a repository of rat-infested factories and Eastern European Jewish immigrants, the other (2020) the gentrified land of their progressive, pea milk-drinking great-grandchildren.

Holland provides the glue and the webbing for the latest Spidey outing Spider-Man: No Way Home. He’s physically nimble — he’s soon to play Fred Astaire in a biopic — quick-witted with his darting comic timing and an all-around easygoing presence. When the movie treats the mayhem and brutality for real, he’s there with the right degree of anguish.

Fascinating as Buzz often is, the film obviously was made with limited resources, transferred to film from DV, with grainy clips from the trailers for Bezzerides-scripted movies rather than snippets of the movies themselves.

A flawed film but an admirable one that tries to immerse us in a world of artistic abandon and political madness and very nearly succeeds.

Pictorially sumptuous and sexually provocative.

The film, a sleek and oddly moving study in the cost of debauchery, has its gleeful excesses.

It's still worth seeing. This ambitious and powerful sphinx, a major force in a particular chunk of recent history, may not give away much. Watching and listening to how he doesn't give it away — that's the known known here.

Despite the holes in the script, Fatal Attraction writer James Dearden moves the action along competently and has two compelling young actors in Dillon and Young. [26 Apr 1991, p.C]

All the women turn in funny performances — it's great to see Pinkett Smith cut loose, and the charming and radiant Hall displays a faculty for physical comedy — but this is Haddish's movie, and will make her a star.