The film is not exactly a documentary, and not quite a period horror movie either. But it has elements of both. At its best, it's hypnotic and provocative.

Still, it's the bits and pieces of this movie, the eccentric asides, that rescue it-when they work. [1 Oct 1993, p.L]

Perfect tries too hard to be perfect on too many fronts, and like a person who fine-tunes his or her body too much, Perfect ultimately seems brittle and less attractive the closer one looks. [7 June 1985, p.A]

Good in many ways, full of talent and intelligence, and marks the debut of a promising young American writer-director, Dan Harris.

The movie loses its magic by the time the solution is revealed.

Erratically acted and, at times, clumsily written.

Whereas Clint Eastwood simply would have squinted at Robinson, Stallone takes a more violent approach. Maybe that's the difference between actors--Eastwood can be droll; Stallone more often crosses the border to primeval.

Perhaps Figgis proves his unconventionality with Cold Creek Manor after all, creating a thriller without resorting to the genre's usual bag of tricks.

Turns out to be a Hollywood sequel of surpassing silliness and wasted talent.

Johnson's latest effort, Finding Steve McQueen, isn't perfect. Or halfway perfect. Or even one-quarter perfect. But he does take what would have been a rather bland heist story and mix it with a mediocre love story to create an enjoyable final product.

Stone had the right instincts about the part — she inhabits Senna beautifully, and her performance anchors the light-as-air All I Wish. It's the perfect role for her to sink her teeth into, sexy and fun, but she brings a sense of real intelligence and soulfulness to the character. That's true star power.

Snappy but sappy romantic comedy.

An amiable comedy about a patched-together football squad, tries to do just that, comes up short after half time, but hangs on well enough to beat the spread.

Overstuffed, formulaic but very easy to take.

The film's pretty good about saying why so much in the culture encourages a political life in the closet, either tacitly or directly. But even The Advocate had a problem with calling it a brilliantly orchestrated conspiracy.

But by not "saying" ANYTHING about the lives behind all the lovely, easygoing footage of infants making their way to their first steps and beyond, Babies feels a tad dodgy (and repetitive) by the hour mark.

It's a shame, because Atomic Blonde is a visual cinematic delight. It's not that it's all style, no substance. But it doesn't seem to know what to do with its substance, and ultimately, Atomic Blonde becomes a film that's all dressed up with just nowhere to go.

Has one other thing in common with "The Matrix Reloaded" -- too much story, too many angles.

Slender but surprisingly smart and pleasing.

The film’s impressive as far is it goes, and Schoenaerts is a fine actor with considerable emotional resources. But it’s exceedingly tidy in its beat-by-beat developments, and outside Roman and Marcus, the supporting character roster struggles to make an impression.

Since I sort of liked “Step Up 2: The Streets,” I’m not surprised I sort of liked the remake of Fame.

Overall, King Arthur sinks into a grim, gray torpor - though it's an odd, not unentertaining movie. The approach is different, if not edifying or convincing.

Pseudo art can be fun, though, even if it doesn't quite awaken all your senses.

For all the fresh originality of the first half, why do we have to retread Kubrick’s film again? Leashing the film adaptation so closely to Kubrick’s film is a missed opportunity for this story to realize the full mystical potential promised.

Almost nothing new to offer -- despite its good actors, flashy visuals and well-textured New York gloss and grit. But there are teasing hints of another, better movie buried inside somewhere.

Between the two Murphys, "Metro" is no waste of time. But it's no life-enhancing experience either -- unless you're into trolley-hopping, perp-snuffing and vows of vengeance. "The Nutty Professor" proved Eddie Murphy still has it, 10 times over.

Rescue Dawn is Herzog's first English-language screenplay, and this is part of its problem: The hushed conversations between prisoners sound only fitfully idiomatic. Also--crucially--Herzog can't find a way to make his own big finish feel authentic, even if things did happen roughly this way.

It has flashes of inspiration and raw emotion, and beyond the famous faces in the cast, Disney’s Wrinkle in Time is graced with a wonderful, natural Meg courtesy of the young actress Storm Reid. Now 14, she’s easy and versatile screen company. The movie around her is a little frustrating and rhythmically stodgy, however, partly for reasons inherent in bringing tricky, elusive material to a different medium.