Alas, the movie isn't nearly as amusing as its premise, but it's refreshingly different from most run-of-the-mill teenage fare.

The story is so important and compelling that you wish Jewison had treated it more as an urgent wake-up call than a by-the-numbers morality play.

It may not be much of a movie, but it's a terrific concert.

Nicely acted and capably directed, but hardly memorable.

The acting is solid, but Tony Pierce-Roberts's unimaginative camera work falls short of his highest standard.

As featherweight as its title, but Lyonne gives a winning performance and the mischievous story packs a few good laughs.

The plot is promising and the acting is earnest, but in the end the movie doesn't quite work.

Denis's pungent images create a nightmarish mood but don't bring full artistic coherence to her odd mix of gothic horror and postmodern reverie.

A true story of the Memphis Belle's magnitude deserved to be told with as much dramatic intensity and as much natural humanity as possible. It deserved to be more than just an action-adventure dressed in phony heroic conventions.

It's campy fun, but if you've seen the previous sequels, the plot grows tiresome and lacks shock value.

There are a few amusing moments, helped by subdued performances from Affleck and Gandolfini, but this is no "Bad Santa" despite its obvious ambition to play similar holiday tricks.

If the heroine really had seven days left, she wouldn't waste it watching stuff like this.

My main complaint -- there's too much emphasis on action -- will strike the film's young target audience as a see-worthy virtue rather than a fault.

Intended as a parody of B-movie fantasies from the '50s, this satire more directly lampoons kiddie thrillers like "Captain Video," putting it perilously close to the pop-culture trash it aims to mock.

What is missing here is any real sense of what it must have been like for two great writers to be living together, especially in that era, with its push-pull of progressivism and parochialism. This is a movie about fireworks where nothing ignites.

The acting is solid, but the story builds less drama and suspense than its high-stakes subject might lead you to expect.

The story is stylishly filmed and acted with high spirits, but there's not much going on in many of its colorful shots.

The action ranges from mildly humorous to merely vulgar; and far too many of the laughs revolve around racially crude confrontations between sweet, blond Goldie and denizens of the big, bad ghetto. [10 March 1986, p.33]

The result can be viewed as an uproarious satire of science fiction in the "Independence Day" mold, or as a rehash of "Gremlins" without the novelty of the original.

McDonald and Montgomery are fun to watch in this mildly amusing Irish romantic comedy.

This delirious film is overflowing with energy and effects, but it lacks the heart and soul that would have made it important as well as impressive.

Sensitive acting by Morgan Freeman and stylish directing by Gary Fleder can't overcome the bottom-line pointlessness of the movie's melodramatic material, which never achieves the dark resonance that helped "The Silence of the Lambs" get under the skin of many moviegoers.

There's too much hokum and too little suspense in the screenplay by Billy Bob Thornton and Tom Epperson.

Robin Williams is no Fred MacMurray, but he plays the hero with his customary energy.

Quite funny and eye-catching.

Even if Zhao and her co-screenwriters were more adept at establishing the family-style togetherness of the Eternals, the emotional continuity is shattered by the incessant time tripping and globe hopping. Just when you think you’ve got your bearings in South Dakota, you suddenly find yourself in Mesopotamia.

There's lots of atmosphere and information to be gained, but stay away unless you can tolerate graphic plunges into the wildest kinds of youthful excess.

A lot more violent and a tad less creepy than the 1974 original, the much-changed remake delivers enough gory, belligerent mayhem to keep horror fans screaming.