This rousing documentary directed by Kevin Tancharoen and shot during two live concerts in New Jersey, is a nonstop campy celebration of youthful pizazz.

I kept expecting Sacha Baron Cohen to traipse onto the scene. Alas, he doesn’t.

The nasty, sometimes violent story was written by Christian Forte, a newcomer who is clearly under Quentin Tarantino's unpleasant spell, and directed by Kevin Spacey, an unusually gifted actor who doesn't yet show any special talent for filmmaking.

It’s still a bit early in the long careers of these actors, especially Kline, to be playing creaky codgers. It’s bad enough when Hollywood casts women over the age of 30 as grandmothers-in-waiting. Now we have to endure an onslaught of famous veteran actors complaining about their hips.

Ultimately more exasperating than rewarding.

The result is hardly a subtle film, but it has a stronger sense of combat's real costs and consequences than more sensationalistic pictures like "Black Hawk Down" and "We Were Soldiers" provide.

The story may be too slow and complicated for the youngest moviegoers.

This likable comedy-drama gets most of its oomph from acting.

It's hard to enjoy this when you're barraged by bathroom humor, animal stunts, and gags about a character whose memory loss is so bad he's called Ten-Second Tom.

Too often the sequences in this movie play out like snatches from a terrific play that somehow got lost along the way.

Lively acting and an amiable comic atmosphere offer partial compensation for generally lackluster filmmaking.

The movie is fresh and friendly, but it doesn't have many surprises and the story sags at times. [25 Aug 1995, p.13]

Tomb Raider, sloppily directed by Roar Uthaug, would not be worth watching without Vikander, who darts, leaps, and pummels her way through this mediocre escapade with a winning fierceness that makes you wish she had paired up with Indiana Jones in his heyday.

The 1950s atmosphere is vivid and the cast is solid, except Diane Lane, who saves most of her energy for the unnecessary sex scenes. The story builds a good deal of momentum and then falls completely apart in the last 20 minutes or so. [09 Oct 1987, p.21]

The visuals are irrepressibly witty and so is the script, which morphs from the classic fable into a spoof on "War of the Worlds." I prefer this version to Spielberg's.

Tries to be daring and iconoclastic but winds up seeming as spoiled and childish as its main characters.

The more moralistic 21 gets, the less enjoyable it is.

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.

Allen has fun with all his roles -- The rest of the acting is bland, but the movie's preteen target audience won't mind, and adults will find occasional grown-up jokes to chuckle at.

Although this is a likable comedy-drama, it never quite balances its humanitarian message (disabled people fall in love like everyone else) with its standard-issue romantic angles.

Plenty of surprises, almost all of them nasty.

Altogether fascinating.

Although the first hour builds effective suspense, the story sags into a warmed-over combination of The Silence of the Lambs and both versions of Cape Fear, and the violent climax looks like it was shot in an Everglades theme park. [17 Feb 1995, p.13]

A central dictum of any mystery thriller is this: Make your protagonists, especially your villains, worth caring about. The Girl on the Train, directed by Tate Taylor from a script by Erin Cressida Wilson, falls down on the job.

The story has possibilities, but you'll spot the big plot twists long before they happen, and the acting by Judd and Cavaziel is strictly by the numbers.

Most of the time we see her through Hal's idealizing eyes, though -- no surprise, since Hollywood won't let glittery stars like Paltrow play down their sex appeal for long.

An OK action film, but only the humorless will find it heretical – or educational.

The result is a quickly paced, slickly filmed entertainment that's also as crude and rude as the PG-13 rating will allow. It's mighty mean-spirited too, aiming "satirical jibes" at everyone from black illiterates to white rednecks, from breakers of the law to enforcers of the law, from society's elites to society's dregs.