Carrey gives an awesome comic performance.. Look out for huge amounts of deliberately disgusting, gross-out humor, though.

Deft and fast-moving, but shouldn’t a musical have at least a few songs you can hum on your way home?

AT once an old-fashioned adventure and a postmodern pastiche, The Quick and the Dead walks a slim tightrope with impressive skill and humor. Its main reference point is the work of Sergio Leone, the Italian maestro whose "spaghetti westerns" reinvigorated the genre during its last major phase about 30 years ago. [13 Feb 1995, p.13]

In short, this movie is exactly the kind of starry-eyed escapist fantasy that Dr. Powell suspects Prot of having. It's harmless enough, since we can be cured just by leaving the theater.

If a mildly magical story is what you're after, it'll be worth the price of admission. Otherwise save your milk money for something more substantial.

At a time when much public education is in a state of perilous decay, one wonders whether this sentimental ode to old-school dignity and privilege is in touch with today's pressing realities.

Chen Shi-Zheng, well regarded as an opera and theater director, makes his feature film debut.

His performance in Gold, as Kenny Wells, isn’t quite up to his Oscar-winning work in "Dallas Buyers Club," but it’s nevertheless a rousing feat without which this movie would have far less to recommend it.

Eric Stoltz and Julie Delpy have some effective moments, but energetic acting isn't enough to redeem the movie from its pointless excesses. [02 Sep 1994, p.11]

Thanks to director Zucker, this is by far the best installment yet -- there's less bathroom humor and more "Airplane!"-type lunacy.

Lee is very good at creating a sense of free-floating dread, but he, and his screenwriter Mark Protosevich, don’t have a real flair for pulp.

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

The movie is woven with care and complexity, again confirming von Trotta's place as one of the world's greatest female filmmakers.

It's refreshing to see a cartoon that looks like a cartoon -- and a lovingly drawn one -- rather than a conglomeration of computer-generated bits and bytes.

One of those movies designed as an Oscar make-over for its star. It didn’t work in this case. Aniston was not nominated for Best Actress, perhaps because the film is so obvious about what it’s up to.

Simon Pegg, of "Shaun of the Dead" and "Hot Fuzz," is onscreen almost constantly in Run Fatboy Run, and his mugging and smirking and preening wear out their welcome fast.

The collision of sleek melodrama and old Woody Allen stand-up routines is at times oddly effective and at other times just odd.

Bay and his screenwriter, Chuck Hogan, adapting the nonfiction bestseller “13 Hours,” by Mitchell Zuckoff and the members of the Annex Security Team, resolutely avoid any overt political inferences.

There is nothing surprising about the way this overlong movie, written and directed by David Dobkin, plays itself out.

The picture is capably acted, especially by Andy Garcia and Uma Thurman, but it's also gory and much too long. [18 Dec 1992, p.12]

What's the point of the picture, except to allow Kutcher fans occasional peeks at acting talent he usually keeps hidden?

Unabashed "Star Wars" clone.

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

It has a good heart, though, and makes an amiable introduction to the integration battles of the '60s and '70s.

All of the actresses are fun to watch, and as much attention appears to have been lavished on their outfits and hairdos as on their high-flying fight scenes.

The movie's main contribution is its fresh look at the Vietnam War, being refought in the Kerry-Bush presidential campaign at the time of the film's release.

What this film really celebrates is crunch-and-thud video-game-style action, not especially well choreographed by director Guy Ritchie.

The movie raises more interesting issues - often connected with the hazy lines between appearance and reality - than it's prepared to coherently explore.