Good contributes very little to a conundrum that has occupied historians and psychologists for half a century.

Overwritten and overcooked, Remember Me still manages a few explosive sequences between Pattinson and Pierce Brosnan.

John Schlesinger has directed Mark Frost's screenplay with great technical skill, constructing highly charged suspense scenes. Robby Muller's cinematography also stands out. The violence is disgusting even by recent standards, though, especially since much of it is aimed at children. And the portrait of a barbarous Afro-Hispanic religion will hardly ease tensions in this time when racism and xenophobia are already rampant. [12 Jun 1987, p.21]

It's fun to watch superheroes who aren't quite at ease with their abilities, but "The Incredibles" - last year's similarly themed animated film - is livelier and funnier.

If nothing else, I hope that The Comedian signals an attempt by De Niro to once again take acting seriously. Without much supporting evidence, he’s still routinely called our greatest living actor. There’s still time to make good on that.

By turns fascinating and infuriating.

Despite its deficiencies, and the inadequate screen time allotted to Theron (who's quite good), Sleepwalking has a core of feeling. It's about a do-gooder who, lacking all skills for it, does good anyway. His emotional odyssey has real poignancy.

It's astounding that the ingenious creator of "JFK" and "Wall Street" could make an epic on war and empire that's so utterly simplistic and unreflective.

The unchanneled energy of Robin Williams can't redeem this messy yarn.

Too bad the clever bits are swamped by no-brainer gunfights, rescues, and chases galore.

Crowe is deft at keeping the various plots spinning, but there are too many of them, and they don’t intersect pleasingly.

You'll enjoy this sentimental drama if you feel good intentions are their own reward, at least where movies are concerned; but it'll exasperate you if you want your entertainment to have some connection with the world we actually live in.

The first hour is eloquent and true. Once the story takes its big turn toward tragedy, though, it becomes predictable and sentimental.

A View to a Kill plods along dutifully, observing the rules of the series with dull consistency.

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.

Denis's pungent images create a nightmarish mood but don't bring full artistic coherence to her odd mix of gothic horror and postmodern reverie.

The story is rarely as touching or funny as it wants to be, but children may enjoy the fantasy elements. [24 Dec 1998]

All the good points together can't make up for the film's mostly soggy acting, particularly by Sean Young and Matt Dillon in the leading roles, or for the technically inept way the voices have been dubbed over the picture - the characters sound like they're reading their lines from a phone booth. Even second-rate Hollywood movies generally have a certain amount of craft and professionalism, but there's precious little here. I say, kiss this one goodbye. [17 May 1991, p.13]

For most of the way this ecofriendly fantasy is pleasantly clunky, and Reeves, whose expressive range here is slim to none, is perfectly cast as the alien.

The action is as grisly as it is surrealistic.

Too crisp and calculated to match the moods of its wild and woolly characters, and its interwoven subplots lead to predictable outcomes.

This woozily uplifting saga is big on homilies and deficient in just about everything else.

How does all this play out for those of us – i.e., me – who have not been staying up nights fretting over the origins of the X-Men and Women? The answer is: Fairly well.

It's not only light, it's thin. It's self-deprecating to a fault. Reynolds is required to practically wink at the audience, as if to say,"I know this looks silly."

Although there's quite a bit of nudity and sex, the potentially sensationalistic story is acted with sincerity and directed with a creative eye.

The movie is lively, funny, and endearing until melodramatics and sentimentality take over in the last few scenes.

This well-meaning drama was made with obvious passion.

The movie has homophobic touches, though, and with so many Asian characters, some viewers may wonder why every single one is portrayed as either a hapless victim or a wicked villain.