Romantic comedy about a bridegroom-to-be who gets sidetracked on the way to his wedding, especially by an unexpected traveling companion who's both free-spirited and beautiful.

The story is spotty, but the acting is fine, especially when Walken is around.

This one doesn't have enough zesty ideas to revive the breed.

The script by Allan Loeb careens all over the place without ever coming to rest on anything interesting.

Movies don’t become great by association, and Wonder Wheel is a far cry from “Streetcar.” There are ample flaws in this film, but they certainly don’t rise to the level of tragic.

An interesting cast is wasted in this misanthropic thriller.

The animals are cute and Murphy gives a lively performance, but as with his remake of "The Nutty Professor," the original is still the best.

When a great movie subject results in a middling movie, the loss is double.

Hal Hartley's innovative comedy-drama is more ambitious than successful, but it deserves credit for trying something genuinely unusual.

Much of the acting is energetically good. Moviegoers familiar with "Fargo" and "Red Rock West" will find this adventure eerily familiar.

Awash in spurious sentimentality and sniping.

There is no reason why Reservation Road could not have been great. George has co-written some powerful films in the past, including two for Daniel Day-Lewis, "In the Name of the Father" and "The Boxer." He is not wrong to want to mainline intensity here, but the inner lives of these men have not been explored, only displayed.

Director Chris Renaud and his team have fun with these dithery, frenetic characters. The film is less special when it slows down and takes a breath of fresh air.

Vladimir Nabokov's novel helped open society's eyes to the evils of pedophilia in the 1950s, and this pensive adaptation renews the warning for a later generation.

Daldry and his screenwriter Eric Roth make the mistake of showing bodies falling from the Twin Towers – it's a mistake because its graphic power seems more exploitative than cathartic – but they otherwise thankfully refrain from pulling out all the stops.

The costumes and design are gorgeous enough to distract us from the wildly erratic tone – some of the time.

One of the season's most watchable treats.

Spacey is almost as swinging as Darin was, but his filmmaking leans toward tried-and-true formulas.

Cage is amusingly skanky, Molina is dependably arch, and Baruchel is engagingly down to earth. But do we really need to watch them play out this exhaustingly empty scenario?

Bird's keen visual imagination keeps the action grimly watchable.

I don't mean to imply that this film is any good or that it contains an ounce of genuine insight. But as a template for the big-baby genre, it's invaluable.

Barely engaging spy thriller.

The combination of caveman dialogue, overcooked action, and anything-for-an-effect performances is maddeningly crude even by cop-movie standards. [22 May 1987, p.23]

The subject is intriguing even if the dialogue is stilted and the acting is uneven.

Best when it's morphing into seriousness. Too often the comic bits seem like sops to the audience.

The movie gives us a Round Table and a flashing Excalibur but no magic, no mystery, no mythic resonance. Mostly there's a lot of slashing swordplay that should appeal to the picture's target audience of young males.

Light, slow, funny one-liners.

Desplechin wants to film an adventure of the human spirit in the manner of a Hitchcockian drama, but he doesn't have a solid enough grasp of English culture to equal the complexity of his French productions like "The Sentinel" and "The Life of the Dead."