Nicholson's over-the-top acting gives an entertaining edge to the plot's feel-good manipulations.

Diane Keaton directed this ragged but lively comedy-drama from Richard LaGravenese's imaginative screenplay.

The pace is a little too languid, and the vulgarity a little too frequent, for the movie to work as intended.

For most of its two-hour running time it simply flings a barrage of horrors at the audience, enhanced with the most imaginative science-fiction atmospherics this side of "Dark City," which incidentally was a far more original picture.

Written and directed by Sidney Lumet, who pushes the material so hard it loses credibility and even entertainment value after a while. [27 Apr 1990, p.10]

The film is almost three hours long and precious little of it feels new – not from Scorsese or from anybody else.

Wants to appear bold and liberated, but it seems awfully solemn about the subculture it explores.

The film would work better if its story unfolded more swiftly and if its twists were more unexpected. The acting is solid, though.

Any resemblance (except qualitatively) to "An Officer and A Gentleman" is strictly unaccidental.

Along with the lapses of taste that have become standard in pictures aimed at teen audiences, filmmaker John Hughes offers moments of wit and warmth.

The writer-director Andrew Niccol is best known for writing "The Truman Show," another movie that got carried away by doomsday deep-think. The deep-think here is even sillier.

The package would be more enticing if it didn't fall so squarely into overused Hollywood formulas.

A creaky and slow-going morality play.

The action, directed by Shane Black, ranges from passable to interminable. The plot goes from clang to bang. Downey Jr. is still the best thing about this series.

This comedy is as down-and-dirty as you'd expect from the Farrelly team...but more than one sequence manages to be hilarious on its own outrageously crass terms.

The performances are stronger than the movie itself. Jodie Foster shows continued growth as an actress, and her girlfriends are skillfully portrayed. [21 Mar 1980, p.15]

Polson's well-filmed thriller swims down the usual lanes for this sort of story, and everyone looks way too old for senior year; but many of the suspense scenes work fine, and Bradford is terrific as the endangered hero.

The River doesn't live up to its ambitions. [03 Jan 1985, p.27]

Mostly just another exercise in snappy editing and over-the-top mayhem that will leave most grown-up movie- goers cold.

Moderately amusing sequel, which is best when it relies on dead-pan acting by the stars, worst when it drags in summer-movie stupidities like an incessantly talking dog.

In all, the film is a striking, if flawed, achievement by a talented actor who may become an important director if he sticks to the genre that suits him best.

The story is as simple as the average football cheer, but the dialogue has amusing echoes of "Clueless," and Dunst and Bradford make a mighty cute couple.

It's always hard to predict what Winterbottom will try next, but this experiment isn't worth repeating, the lively concert scenes notwithstanding. Be forewarned that the sexual scenes aren't simulated.

Young viewers may guffaw, but seasoned fans of "There's Something About Mary" will be disappointed.

Stone may think he's made a movie about the toxicity of the Bush presidency, but what we have instead is a cautionary tale of a decidedly lower order. As far as I can make out, the real message of W. is: Don't vote for anybody who talks with his mouth full of food.

All the old cliches, including the offensive ones, are trotted out in this revisionist yet trite Australian western about a legendary bad guy and his young sidekick.

Socially committed realism and screwball comedy don't mix easily. That's the main reason that Teachers is a mess. [02 Nov 1984, p.25]

Something happens to Robin Williams in serious roles. He becomes so drab that it's almost as if he's trying to efface himself from the screen.