Blethyn's lively acting and some visually amusing moments lend spice to this minor but engaging comedy.

Few movies have sought this particular blend of detective-story melodrama and religious sensitivity.

The picture is more sociologically instructive than emotionally involving, serving as a document of contemporary Irish life rather than an ordinary inspirational story.

The screenplay by director Bell is packed with surprises, and the acting is excellent.

The most enjoyable thing about the "Ocean's" movies is that nobody involved seems to take them seriously. The star wattage is immense but the stars themselves are refreshingly self-deprecating, almost satirically so.

It is a splendidly appropriate project for Otto Preminger, even though he hasn't succeeded at making the most of it.

As any kind of introduction to Ibsen, this film is more a turnoff than a turn-on.

A lumbering number that takes its identity as a costume drama quite literally.

Whatever the approach, there isn’t enough psychological heft to the drama to make it seem much more than generic.

The movie is infused with enough of Burton’s beguiling gothic vibe to kick off the Halloween season, but the plot holes are large enough for the Great Pumpkin to fill.

We’re left with an enigma that is insufficiently probed: How does art this banal nevertheless capture us?

The movie wastes a good opportunity to look at important questions, such as who's responsible for American policy when the president is busy killing terrorists.

There's too much hokum and too little suspense in the screenplay by Billy Bob Thornton and Tom Epperson.

A standout is Ben Mendelsohn’s Aussie nutcase.

Because almost all animated films now are computer generated, the 2-D animated Curious George has the not-unpleasant patina of an antique.

Directed by Philip Kaufman, who pays equal attention to the literary ideas and sexual preoccupations of the characters, but generates little new understanding of either. [05 Oct 1990, p.12]

The action and special effects are mostly first-rate and Vogt-Roberts maintains a vaguely satiric tone that sidesteps schlockiness.

Only the acting of City Hall is strong enough to deserve a vote of confidence. Pacino does a solid imitation of Mario Cuomo, the former governor of New York, bringing dark-toned fervor to his intimate scenes and delivering speeches with enough pizazz to remind us that politics and show business have an awful lot in common. [20 Feb 1996, p.13]

Although it's touching and sincere, Washington's directorial debut is weakened by a too-slow pace and a story that offers few real surprises.

Norton's high-energy acting is the only element that saves the picture from being a total loss.

Goldmember comes after years of escalating vulgarity have thrown the need for caution -- and cleverness -- out of fashion.

Oliver Stone's film paints a reasonably complex portrait of Morrison's life and times. [01 Mar 1991]

The actors, who portray a reunion that is more sparring match than love fest, strike occasional sparks.

A sensitive, nicely made character drama.

Blethyn, as Frank's wife, is less high-strung than usual, which is a boon.

Seraphim Falls is essentially one long, bleak stalk-and-kill action thriller.

Kathy Bates gives her most gripping performance since "Misery," also based on a Stephen King thriller. The picture is weakened by a rambling and inconsistent screenplay.

Still, I prefer a bit more drama in my political docudramas. The Conquest never really breaks out of its genre in the way that, say, "The Queen" or "Il Divo" or the more fictionalized "In the Loop" did.