When the actors are in cars, the movie's fun. When they get out to argue, or seethe, it's uh-oh time. Happily, director Scott Waugh comes out of the stunt world himself, and there's a refreshing emphasis on actual, theoretically dangerous stunt driving over digital absurdities.

This is your warning that if you have any affinity for the ballet, avoid this at all costs.

As skillful and charismatic as Gere is, I never get the sense he's really in there, conversing with his fellow actor.

The movie begins with a tragedy and eases into a more interesting blend of drama and comedy than we've gotten in this genre lately.

The dance sequences are sexy and energetic, more than compensating for a love relationship in the film that is thoroughly illogical and wooden. [22 July 1983]

Most of the ingredients for a strong, tough film are there, and they have been sadly botched by a few key collaborators.

So it’s one of those Hip, Now updates, albeit with jokes riffing on pop-cult artifacts that are already Then. I mean: “Jerry Maguire”? Moratorium!

Levinson has written and directed in many genres. But rarely has he made a film as indecisive and diffident as Man of the Year.

The steady Costner gives a competent enough performance this time out as he dances with foxes, or at least one, while Grammy winner Houston is quite impressive in her feature debut, displaying both hot and cool emotion as well as performing six new songs...Unfortunately, she is assigned to handle lines like, "You're a hard one to figure out, Frank Farmer," and "I've never felt this safe before." Unfortunately, too, the romance gets in the way of the thriller, and when the two principals finally take to their bed, so does the movie. [25 Nov 1992, p.C2]

The book’s melancholy spareness has been replaced by a “Here” existing somewhere in a pristine, remote suburb we’ll call Uncanny Valley Falls, a few miles away from real life.

Dr. Giggles strains for the kind of charnel house humor that once was the glory of 1950s horror comics like Tales from the Crypt. But Coto's imagination, like Dr. Giggle's rusty scalpels, isn't all that sharp, and the picture soon peters out into a flat, predictable series of stomach-churning unpleasantries. [26 Oct 1992, p.5C]

It’s a little “Karate Kid,” a smidge of “Fight Club” (with none of the ironic ambivalence toward violence that David Fincher brought to that story), a lot of “The O.C.” (evil boy Gigandet played an evil boy on that series), and presto: probable hit.

Junk food laced with testosterone.

The Exorcist: Believer has its moments, but we’ve had a half-century of this stuff. And the filmmaker in charge has to show us something new; there’s more to life, and moviegoing, than coasting on cherished memories of projectile vomiting and head-swiveling.

Despite some moments of genuine tension, Dot the i walks (and occasionally hops right over) a very fine line between thriller/drama and parody.

There's some fun potential here, but Marvin's direction is plodding enough to snuff it fairly quickly. Yet Charlie Sheen, promising in his second-banana appearances in Lucas and Pretty in Pink, emerges with his promise intact. Sheen already has the reserved but powerful manner of a Wayne or an Eastwood; with a little more maturity, he could be a contender.