Jim Carrey proves that he's the most inspired clown in movies today, but parents should be warned that much of the picture's humor is extremely rude and crude.

Illuminating, if not exactly edifying.

Glover and Bassett play the title characters with great energy, and Berry has invested the movie with the moral conscience that underpinned his entire career.

Over time, though, with films such as "Lost Highway" and, to a lesser extent, "Mulholland Drive," Lynch's movies became less personal and more private. Whatever he is working out in his new film, Inland Empire, it's beyond the reach of all but his idolators.

Pierce Brosnan has mastered every smidgen of 007 schtick, making the role more thoroughly his own than any actor since Sean Connery -- still the best of the batch -- decided to call it quits.

Delicatessen seems overstuffed at times, unable to digest its own surfeit of jokes, tricks, and surprises.

The film is preoccupied with whiz-bang adventure rather than storytelling. There's also too much cartoon violence for young kids.

Ballast lacks ballast. Much praised by aficionados of minimalist indie cinema – hey, who needs a plot when you've got mood? – it's a wearying slog through anomie in a Mississippi Delta township.

Diverting but minor.

The story is so eager to highlight macho action scenes that it loses track of the important historical and political issues it raises.

Good performances by a distinguished cast don't quite overcome the weaknesses of the disappointing screenplay.

Wrong Is Right tries to be an intellectual epic comedy thriller -- a bold mix, to say the least. But its force is muffled by its bulk. Despite its good intentions, it's a dud. [20 May 1982, p.19]

The movie is a disappointment -- not a stain on Benton's career as a serious and literate director, but only half the powerful drama it might have been.

The cast is cute and the action is colorful, but the comedy isn't as captivating as it sets out to be.

There are many tantalizing bits, but the overall result is a simplistic story wrapped in barely explained quantum physics and new-age sound bites. Fascinating and frustrating in about equal measure.

Sometimes a movie thinks it's one thing (charming) when it's really something else (creepy). Such is the case with writer-director Stephen Belber's Management.

Well made, nice performances, very slowly paced.

Stay home.

Use of a loosely written screenplay and a nonprofessional cast in this picture weakens its dramatic appeal even as it lends authenticity and local color.

Much of the movie exploits its subject for low-grade laughs, but in the end it takes a foursquare stand against the sleazy business it portrays, exposing its capacity for decadence and degradation.

No-nonsense critiques of Brazil's endemic poverty and deeply flawed criminal-justice system lend substance to what otherwise might have seemed a flimsy and sensationalistic tale.

The screenplay by Kevin Williamson ("Scream") keeps the lighting low and the tension high, though a bit more wit would have helped.

As Lucas’s girlfriend April, Isild Le Besco brings a sprig of sunshine into the film’s fetid hollows.

Filmmakers run out of ideas long before the final.

This farce set mostly aboard a transatlantic flight stuck in midair never launches.

Redford's storytelling skills aren't strong enough to make the tale appear as seamless as it should.

As coarse, vulgar, adolescent action comedies go, Beverly Hills Ninja comes across as relatively tame - less profanity, less violence, less sex than typical for this "Naked Gun" wannabe.

Depardieu gives the story a firm center of gravity, aided by Joffé's eye for colorful settings and period detail.