Junger spins hilariously written scenes with split-second timing, although the story sags during its long middle portion.

Peter Greenaway's unorthodox drama treats the movie screen less as an entertainment device than a postmodern canvas upon which he writes, photographs, and records an intricate multicultural collage. [06 Jun 1997]

Costner is convincing as the hero, ably supported by Joe Morton as a short-tempered supervisor and Kathy Bates as a feisty neighbor. Dragonfly has little chance of "Ghost"-like popularity, though.

All so fast and frenetic.

Moretti's acting skills aren't up to the demands of the main role, and his portrait of family life is too simplistic to be credible.

Black and Kyle Gass started their acoustic/heavy metal rock music comedy act back in the late 1980s. Gold albums and HBO shorts followed, now this. Still, any movie featuring Jack Black with an appearance by Sasquatch is not a total loss, and, for those who care, we learn the origin of the group's name.

The adventure is well-acted by Mira Sorvino and Giancarlo Giannini, among others, and imaginatively directed by Guillermo Del Toro, who gives a new twist to old science-fiction effects.

Rodriguez's acting almost scores a knockout even though the movie's directing and dialogue are fairly routine.

The movie takes fascinating material and transforms it into a routine soap opera.

Few of its loosely linked vignettes have enough visual or emotional power to be very memorable.

Poehler is the life of the party and steals just about every scene, although there's not much to steal.

This is a subdued and sometimes subtle exercise in ghostly doings, going against the horror-movie grain by relying on quietude and understatement.

Some scenes in a Manhattan hotel have the amiable ring of old-fashioned farce to them, but most of the going is noisy and obvious. [10 Jun 1988, p.21]

What a waste of a fine cast.

Unnecessary profanity for PG, a little slow for grown-ups, but good for laughs and promoting sibling peace.

The plot is predictable, and the humor is uncreative and often crude. The heroine, however, is endearing in her quirkiness.

Has touches of quirky style to match its slightly edgy content.

The story has inherent emotional power, but Jeremy Brock's formula-bound screenplay rarely soars beyond cliches.

The action is mild enough for fairly young children, and grownups may enjoy its old-fashioned spirit.

About the only thing I like about this movie is its shaggy, relatively apolitical stance. Instead of setting itself up as a brief for or against the Iraq war, it just moseys along without much on its mind except how to connect the dots in the plot.

The filmmakers can't decide what sort of picture they're trying to cook up, so they keep oscillating among shallow psychological drama, high-tech action sequences, and comedy scenes that are themselves an uneasy mixture of sitcom-style dialogue and self-mocking campiness.

The movie has moments of breathtaking suspense, at least until it lapses into cartoonish implausibility in the second half. With good acting and good dialogue it might actually have been a good picture.

Tsotsi never comes across as anything but a brutal cipher, and serious issues such as black-on-black crime in the townships are left unexplored.

You'll enjoy this sentimental drama if you feel good intentions are their own reward, at least where movies are concerned; but it'll exasperate you if you want your entertainment to have some connection with the world we actually live in.

It's interesting to see a movie of this kind based on a single gospel, with no additions or interpolations from other sources. But except for a few scenes that evoke the reverent beauty of Renaissance painting, the filmmaking and acting are awfully stiff -- certainly not worthy of the timeless story being told.

A View to a Kill plods along dutifully, observing the rules of the series with dull consistency.

A promising feature-film debut.

Laurence Fishburne and Tim Roth play the main characters with conviction, but Bill Duke's punchy filmmaking style banishes any hope of storytelling subtlety or psychological nuance.