Relentlessly driven by fashionable revisionism and good intentions, Geronimo: An American Legend-which deals with "days of bravery and cruelty, heroism and deceit"-is so politically correct it often is dramatically inert. [10 Dec 1993, p.C]

A charming confection, set on an ocean liner. [13 Apr 2007, p.C5]

I found nothing likable or funny about either of these characters, who both deserve a pie in the face. (One of them even gets it.)

[Cage] cracks wise throughout the third act and is almost entertaining enough to make this absurdly energetic movie recommendable.

A different editing rhythm (and a less narcotic musical score) would substantially change the personality of this movie, for better or worse.

The pleasures of Jumanji: The Next Level are not visual or story-based, as they revolve around the ability of each of our stars and their abilities to do impressions.

Moana 2 is more of an action movie with a few accidental musical numbers of varying quality.

The core of Fey’s storyline hasn’t changed, even if technology has. It embraces, with trace elements of sincerity, the juicy comic extremes of mean-girldom, complete with an 11th-hour repudiation and a reminder to be nicer. Before it’s too late.

The sort of movie that both rewards and tries your patience.

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

It's the equivalent of our "Gone With the Wind," Russia's "War and Peace" or, to take a more modest example, South Korea's "Chunhyang." Sheer ambition and grandiose make the film interesting -- up to a point.

The sad thing is, even for NASA/space fans, a snooze isn't out of the question despite the film's scant 40-minute running time.

Eccentric, miscast (though stimulatingly so), not for all tastes but far from flavorless.

If Licence to Kill has one of Bond`s best heavies, it also has one of his best heroines in Carey Lowell, a strapping brunet who plays an ex-Army pilot reluctantly enrolled on Bond`s side. Lowell`s line readings may be only adequate, but she moves with the grace and vigor an action movie needs.

Movies like First Snow rise or fall on characters and atmosphere, and Fergus gets them both. But though the story's resolution does have irony and even a certain power, it lacks the charge, the Serlingesque "gotcha," that it needs.

Fuqua goes for operatic style and pulp poetics, strung together with a strangely paced and structured plot that’s about as floppy as a spaghetti noodle (the script is once again by Richard Wenk). But the film is not unenjoyable on a purely impressionistic level, as Fuqua and Washington bring the audience along on their Euro trip and ask us simply to sit back, relax and enjoy the ride that is Robert McCall inflicting terror and mayhem on very bad people.

Extracting three generously proportioned films from Tolkien's books made sense. But turning the relatively slim 1937 volume 'The Hobbit' into a trilogy, peddling seven or eight hours of cine-mythology, suggests a better deal for the producers than for audiences.

I doubt even rabid fans of the first two will consider Shrek the Third a worthy addition to the franchise.

The script embraces certain character archetypes wholeheartedly (pig-headed crew mate; ramrod-stiff officer) and not always successfully. Yet the tone, the mood of the picture, with its desaturated color palette, maintains the right atmosphere.

Burt Reynolds stars as a Dirty Harry-style detective who chases after a high-powered pimp in Atlanta. When Reynolds stays in character, the film works well as a straight thriller. When he winks at the audience with his dialog, the film falls apart. [25 Dec 1981, p.12]

Depardieu has so much life on screen, so much bounding energy and insistent physicality, that he almost brings it off.

Explorers offers an attractive premise to a very small payoff.

Surprise! The Hummingbird Project basically works; it’s intriguing; the actors play it just straight enough to make it feel like a fact-based drama (though it isn’t) with a few darkly comic details.

When it works it’s enjoyable; when it doesn’t, it falls into a generic sort of bustle, missing the darker, more troubling layers underneath.

If older kids and adults seek out this picture, which 20th Century Fox and Walden Media clearly aren't sure how to sell, they may well find themselves drawn into a subterranean world of considerable imagination.

Still, it's pretty rich watching Rogen puke all over a Christmas Eve Mass in front of his in-laws.

It’s essentially the Hotel Earle from “Barton Fink,” augmented by the latest in robotic surgical techniques for bullet extraction.

There's no denying that Undisputed delivers the action-movie goods, and so do Snipes and Rhames. It should have been more memorable, but at least it doesn't stumble in the ring.