There's the script -- and that's the problem.

Sue wins out, and the film is worth seeing, if only for the reminder of how badly justice can miscarry if enough millions are spent by the U.S. government.

Successfully avoids the grandiose mythmaking that has been the bane of the baseball movie from ''Pride of the Yankees'' to ''The Natural.'' Rather than a vapid national epic, it is a warm, droll, deftly cracked romantic comedy. [15 June 1988]

Biloxi Blues also wants to be a confessional, coming-of-age memoir, but again, it works better around the edges than it does in its central conception.

Has such a cheerfully zingy energy that you keep rooting for it even when its jokes turn flatter than a jump shot at a YMCA pickup game.

The world of Wall Street is that of a lush soap opera-"Dynasty" with a moral. It gets the barn burning, all right, but it has no impact. [11 Dec 1987, p.A]

A pleasure to watch and also serves as a reminder of a time when "right over might" was at the core of a powerful country's credo. [28 May 1999, Tempo, p.5]

Any movie that manages to work in a dig at the National Theatre's heavier pretensions — in a subway sequence, Paddington trots by a National poster for a (fake) play with the amusingly dour title "Damned by Despair" — is OK with me.

The visual style is typical, ultra crisp computer animation, bright, sharp, somewhat clinical.

It's a funny-sad portrait of fame and its junkies, and of an era and its music.

The movie's fun. And now, thanks to our annual Neeson thriller, spring can come soon.

Appeals to a universal appetite for stories that are as rich and warm as they are flavorful.

The Nativity Story surprised me. I didn't expect such an obvious art film approach. Yet the Bible, in the King James version, is great English literature.

Even if Godzilla vs. Kong feels more a tad more mecha than human, it satisfies nonetheless. The MonsterVerse remains a better-than-average franchise, pulling enough variations on its theme of Titans, clashing, to keep on keepin’ on.

A Fantastic Woman is the likely front-runner for this year’s foreign language Academy Award. Its clarity of purpose translates to an effectively lean and straightforward story of adversity and survival, in any language.

This is a film for actual moviegoing grown-ups who don't mind a little quality now and then.

Power is cast exceedingly well, with director Lumet being one of the best-connected directors in New York. Power gives us the likes of Gene Hackman, Julie Christie, E.G. Marshall, Fritz Weaver and Beatrice Straight in supporting roles! [31 Jan 1986, p.30N]

A gripping, very intelligent British thriller. Slowly, inexorably, it ties you in knots.

The attitudes evinced by most of the characters, and the movie itself, are those of the admiring tourist, and as two-hour tours go, The Best Exotic Marigold Hotel goes smoothly.

It's an ensemble piece with a dark, salty mood that reminded me of Robert Altman and Robert Aldrich, with a touch of Francis Ford Coppola. It's notably non-"gung ho."

The film may be depressing. But even with a terrible, watery musical score, it's also good.

With his thin-lipped grimace and big, soulful eyes, Lindon's an ideal actor for this sort of puzzle.

A powerhouse of a film about modern journalism and war, with battle scenes that have the immediacy and impact of the famed opening sequence of "Saving Private Ryan."

Finally, a word about John Candy, the Second City-trained performer who has worked with great success on the "SCTV" shows. Candy, the plump one of the troupe, is more than just a jolly fat man in "Stripes." He becomes one of Murray's allies, because his comic persona allows him to be as sharp-witted as the next man. This is a switch, because the fat man in a comedy usually is the butt of a lot of physical humor...The point is this: Candy deserves to star in his own movie. He's that funny.

It’s wonderful to watch Gosling mine the non-verbal comedy in his character’s 50/50 swagger and insecurity. Blunt’s both a sterling comic foil and a soulful romantic one. Audiences crave romantic comedies with real wit, and the spirit of adventure, because romance is nothing without it. If someone could write one of those for these two, I’d appreciate it. The Fall Guy will do for now.

An unashamed art picture, the kind of film where extreme aestheticism mixes with nightmare dread, where the story resembles a bad dream and where Freudian symbols cluster around the events like a swarm of insects. It's a very pretty film, but it's also lean, enigmatic and so obscure.

Sam Dunn's unabashed wet kiss to his favorite genre of music, heavy metal, a.k.a. devil's music.

There's little doubt that Jacob's Ladder is a failure-it's a messy, unsatisfying and often overreaching film-yet it fails in interesting, ambitious ways. It's a must-see disaster. [2 Nov 1990, p.C]