Kids may yawn at the movie's dawdling pace.

There is a germ of a good idea in the notion that an imaginary suitor can be more powerful than a real one. But director Alejandro Agresti isn't the man to pull it off.

Murphy gives one of his more-restrained performances, which suits the mood of carefully contained mayhem established by Steve Carr, the director.

The result is maddening, exasperating, occasionally exhilarating – and mostly boring.

Where's the real 007 when we really need him? Or better yet -- Calling Inspector Clouseau!

Fantasy-style plot doesn't mesh easily with the unsettling psychological themes woven through it.

In both its original 1973 version and its expanded 2000 edition, this hugely popular horror yarn is less a cleverly spun story than a disjointed collection of shockeroos, surrounding a few ghoulishly effective moments with overcooked plot twists and in-your-face vulgarity. [2000 re-release]

Never quite catches fire.

What keeps The Mosquito Coast from being a great movie is too much caution.

Scott's filmmaking is as blunt and bullying as the mayhem it portrays.

The comedy is tooooo loooooong for the two or three jokes it has to play with, and Kinnear does the picture's only three-dimensional acting.

The setting is cramped and the story is illogical, but it's suspenseful as long as you don't think about it very hard.

I wish I could say it's a resurrected classic but, alas, it's mostly a mess – a 2-1/2-hour mess no less.

For most of the movie, we feel as trapped as she does, and the lurching narrative seems anything but novelistic.

Speaking of Tarantino, who should never be allowed to act under any circumstance, he's cast in a key storytelling role, and it's one indication among many that the whole project is little more than a stunt.

Like the Oscar-nominated "Seabiscuit," though, Miracle fails to ring true as it tries to make a sporting event an all-embracing metaphor for the American way.

Hanks and Ryan are as appealing as ever, and Ephron's fashion-conscious camera gives the action a slickly attractive sheen.

Directed by Charles Shyer, who brings much imagination to the first half but loses all momentum in the homestretch. [04 Oct 1984, p.27]

The remake of Unfaithfully Yours is just a shadow of its source, using the basic plot and characters, but diluting Sturges's ideas. [23 Feb 1984, p.21]

Biopics about civil rights icons are usually staid affairs. Cesar Chavez, directed by Diego Luna, is no exception.

More cautionary than titillating...some of it (is) deliberately disturbing.

Carax's cinematic imagination makes it worth viewing by movie buffs with a sense of adventure and a tolerance for explicit sex.

A likable though slender documentary.

Ostensibly it’s a tradition versus progress fable. In actuality, it’s a movie furiously, perhaps intentionally, at odds with itself.

An engaging and sometimes gripping movie, if ultimately a superficial one. Reiner has mastered the surface skills of moviemaking, although the inner depths continue to elude him. [11 Dec 1992]

It doesn't have a speck of authentic heart -- you can bet its Hollywood creators wouldn't move to Alabama if their lives depended on it -- but if you belong to the growing legion of Witherspoon worshippers, this is definitely the movie of the week.

Dusted off and brought up to date, it's still the same old Capracorn – minus the populist pizzazz he might have provided.

The drama is likably low-key but builds little excitement, and Bowie's star billing says more about the power of his agent than the number of scenes he appears in.