Medusa, at least, is fun to watch, and, as a bonus, we in the audience don’t have to worry about turning to stone (although, watching this film, your eyelids do get awfully heavy).

Rodin, directed by Jacques Doillon and starring Vincent Lindon as the great Parisian sculptor, does not, to put it charitably, add to the very small roster of Great Artist movies (such as “Lust for Life” and “Vincent & Theo”).

Such a feeble excuse for an action comedy that it's already taken pride of place in my upcoming worst-movies-of-2011 list.

The comically tinged action is as lively as it is brainless, and it revels in violence a bit less eagerly than many thrillers of its ilk.

The movie's real spectacle is the sight of so many talented people slogging through such idiotic material.

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]

A more contrived and tenuous premise you would be hard-pressed to find, although, since this is a romantic comedy, suspension of disbelief comes with the territory.

The best thing The Edge of Love could do for you is to send you back to Thomas's poetry. Dash this folderol.

Punchy, cleverly stylized, but utterly empty yarn about a feisty young woman who welds by day, disco-dances by night, and dreams of the day when she can devote her life to her art.

Levinson made a great political comedy once, "Wag the Dog," but that had a script by David Mamet. Here, Levinson seems to be torn between making a political jest and a suspense thriller. Neither works.

It's about time Eastwood and Reynolds faced off - and I, for one, am glad they do it with barely hidden smiles. [06 Dec 1984, p.49]

I doubt The Gunman will do much to advance Penn’s foray into action-hero bankability, and that’s probably a good thing. He’s too fine an actor to be mired in nonstop shootouts while flashing his pecs and looking scowly.

Murphy gives one of his more-restrained performances, which suits the mood of carefully contained mayhem established by Steve Carr, the director.

The movie morphs into a deconstructed remake of "Indecent Exposure" and it's downright riveting, with Campbell doing her best acting to date.

Practically every gag in this movie, and there are scores of them, is milked dry. When the gags aren’t very good to begin to with, this is a prescription for disaster.

The screenplay provides enough cute one-liners and love-struck speeches to give the comedy intermittent charm.

Its ideas are worth pondering, but as a movie it's less memorable than its interesting cast suggests.

The story is likable if not memorable, and the Chinese settings lend the basically ordinary plot a touch of novelty.

As featherweight as its title, but Lyonne gives a winning performance and the mischievous story packs a few good laughs.

Sit this one out.

The still youthful-looking Sarandon playing a grandmother is a jolt, especially since she doesn’t resemble the doddering roustabout she’s supposed to be playing. Maybe that’s why the director Ben Falcone (McCarthy’s husband and, with her, the film’s co-writer) gives Sarandon a full head of gray hair.

Annie turns out to be a reasonably entertaining movie.

Directors Joachim Rønning and Espen Sandberg work up a stormy sea-parting finale that is better than anything in “The Ten Commandments.” Again, the trick to enjoying this film is to expect nothing.

Petroni's directorial debut is too bittersweet and atmospheric for its own good, wrapping a potentially strong story in too many layers of misty emotion.

Some slow and vulgar moments aside, it's a minor treat for viewers who don't mind keeping their expectations low. [11 Oct 1985, p.25]

This indirect rehash of "To Catch a Thief" trades Hitchcockian shrewdness for the slickest kinds of Hollywood glitz, gloss, and vulgarity.

It seems to have had the opposite effect on the director's taste, as she strives for new levels of raunchiness.

A lot more violent and a tad less creepy than the 1974 original, the much-changed remake delivers enough gory, belligerent mayhem to keep horror fans screaming.