The movie has plenty of high-tech power, spinning out action so explosive you'll hardly notice how preposterous the story is or how cardboard-thin the characters are.

Newman's magnetic face isn't enough to raise this intermittently amusing thriller above the ordinary caper-comedy crowd.

My worst fears were confirmed almost from the start. In order to inject some pep into the proceedings, Law has been encouraged to play Wolfe as a motormouthed rhapsodist who seems less inspired than unhinged. He’s exhaustingly exuberant.

Plunges energetically into the 16th-century religious rebel's activities and philosophies. It dodges some significant issues in Luther's life, however, reducing its value as an educational film.

Less an American product than an international escapade, it's the kind of pigeonhole-resisting romp that Hollywood too rarely provides.

The idea of a Woody Allen movie about fame is enticing, but a meandering screenplay and uninspired acting make this one of his thinnest, tinniest films.

Paris Hilton also turns up, still trying to be famous for more than being famous. She has a ways to go.

There's good bad taste and then there's just plain bad bad, which is what describes most of Brüno.

Great cast, great atmosphere, little sense or first-rate suspense.

I enjoyed this movie more than the last two films from the Wachowskis, the interminable "Cloud Atlas" and "Speed Racer." On the other hand, "The Matrix" it's not.

Tasty while you take it in, but larded down with empty cinematic calories.

For a major sci-fi release in the Star Wars era, it's surprisingly slow and even maudlin.

Too many clichés and too much uneven acting dilute its impact.

The flamboyantly filmed story makes some telling points about adolescent life. But despite its oh-so-cynical mannerisms, it falls all over itself to flatter an allegedly self-absorbed and self-pitying teen audience. [7 April 1989]

The meandering story and channel-surfing style prevent it from gathering the emotional momentum it would need to get below the hero's skin and let us know what really makes him tick.

The multicultural cast gives a shred of substance to what's otherwise a standard adolescent gross-out flick.

Energetic acting helps compensate for a contrived script and directing that's sometimes as heavy as its cheerfully rotund characters.

Based on a popular book by Betty MacDonald, the story is silly at best, woefully predictable at worst. MacMurray and Colbert are in excellent form, though, and Louise Albritton heads a colorful cast of supporting players. [14 Oct 1987, p.21]

The story is an odd mixture of preachiness and paranoia, but the stars provide sizzling performances and the action moves at a lively clip.

Harrowing and imaginatively made.

The action is dynamically filmed and Willis is at his best. Suspense is soon hijacked by outright gore and grisliness, though.

The film is a so-so slog through a torrent of tired jokes.

The story's emphasis is on action, but there are some sensitive moments and interesting ideas along the way.

Director Claire Kilner and screenwriter Neena Beber don't walk the tightrope between comedy and drama skillfully enough to make either aspect work as well as it should.

Forgettable fun.

Woody Harrelson, Randy Quaid, and Bill Murray give riotous performances, but be warned that the comedy is overloaded with gross-out humor from beginning to end.

The movie has almost enough corny appeal to offset its lack of originality, though, and Walken is fun as Cagliostro, the court's great prognosticator and all-around weirdo.