He's a mishmash of cultural opposites, and his motormouth swagger is fitfully amusing. So is his backhand.

Most of it plays out as sub-medium-grade farce, but Carrey has some funny calisthenic bits where he appears to have the pliability of a rubber toy.

This time the feelings don't build much momentum, though, and the action is generally slack. Robert Altman directed, showing his usual healthy disdain for standard storytelling styles, but never quite getting a handle on his characters or their bizarre situation. [6 Dec 1985]

Compared with, say, Mel Gibson's "Apocalypto," which featured this sort of stuff in practically every frame, Marshall's film is downright Disneyish.

The film benefits greatly from Rahim's subtle, effective performance.

The romantic comedy 27 Dresses will work best for people who have never seen a romantic comedy. If you have, you might find it amusing to tally up the steals – I mean, homages.

Although Steven Soderbergh's two-part Che may have an epic running time of almost 4-1/2 hours, its scope is surprisingly narrow.

There are moments of real humor and real emotion in this otherwise frivolous sex comedy about a married man smitten with a glamorous model.

The best I can say is that it’s another tour de force for Gyllenhaal, although his intensity isn’t matched by the movie itself, which sacrifices much of its power by too often settling for easy, nut-brain effects.

It’s an only-in-America success story worth recounting.

Lee is very good at creating a sense of free-floating dread, but he, and his screenwriter Mark Protosevich, don’t have a real flair for pulp.

Only Rebecca Hall comes through with a genuineness that rises above Holofcener’s doodlings. Her scenes with Guilbert resonate because, in the end, Rebecca is the only character in the movie who seems to care about anything other than his or her own – take your pick – bank account, complexion, weight, guilt. In this company, she’s practically a saint.

The overlong Trainwreck would have been better if it had derailed more often.

Safe Haven is a species of Gothic chick flick.

Their 40-year marriage seems like more of a trial than this overweening, lightly likable movie acknowledges.

Not awful, not wonderful, Jack the Giant Slayer is a midrange fairy tale epic that’s a lot more ho-hum than fee-fi-fo-fum.

An actor making his directorial debut, Parker, who plays Turner and also co-wrote the script with Jean McGianni Celestin, has taken hold of an incendiary subject and coarsened its complexities into agitprop.

A dash – only a dash – of Tim Burton ghoulishness might have helped.

Very broad, very brash ''film noir'' satire...The action is fast, flashy, sometimes funny, always loud. [13 June 1986, p.25]

Draggy Italian epic that's big on production values but skimpy on inspiration.

If the movie accomplishes nothing else, though, I hope it inspires the curious to actually sit down and finally read “Moby-Dick.” It’s an extraordinary yarn. Really.

Mortal Thoughts has strong moments, but fails to keep you riveted to the end.

A few of the supporting players, including Kim Dickens, as a suspicious local cop, and Carrie Coon, as Nick’s twin sister, move beyond the formulaic, which is more than can be said for the movie.

Whatever brought Greene down was far more complex than this film allows for.

It's a showpiece for that Belgian city's medieval splendor. You may want to book vacation reservations upon leaving the theater, although the memory of this underwhelming movie may tarnish the sightseeing.

Despite its arty veneer and its ostensibly political edge, Circumstance seems more interested in titillation than revelation.

Amalric throws in flashbacks and flash-forwards between bedroom and courthouse (yes, there’s a murder), and I was reminded again why I prefer my noirs in the hardboiled American style rather than tricked up with all this faux Alain Resnais-style filigree.

It’s nice to see oldsters cavorting in kaboom movies, but a little of this stuff goes a long way.