School Ties is powerful, but it cheats, too -- and the inspiring climax is telegraphed well in advance. What seems worse, though, is the movie's timidity on ground that has been well tested since A Gentleman's Agreement almost 50 years ago. [18 Sept 1992, p.G4]

The Little Rascals is nowhere near as annoying as it could have been -- you will actually catch yourself laughing in spots -- and the tykes will love it. [05 Aug 1994, p.G5]

Although Leconte allows for a certain warmth to run through the film, he thankfully stays away from sentimentality. Therein lays the charm.

And so it goes, cleverly, amiably -- infidelity made fun. Wilder seems to have a firm hand on the controls, and the movie works best when he indulges his talent for physical comedy, which is considerable. It works less effectively when we have time to think about what is going on, and how many times we have seen it before, but the pace is quick enough that these times are few. [17 Aug 1984, p.10]

It still feels a little like a lesson you’re supposed to learn before you can enjoy anything truly satisfying.

The movie is bloody and gruesome and quite harmless, just the way they made them "in the good old days." [02 Aug 1985, p.C7]

Harmless, mildly enjoyable.

My Girl, nominally a story about a gently wacky family but actually a no-holds-barred assault on the tear ducts, is one of those movies you want to hate -- but I don't think it's possible. [27 Nov 1991, p.D1]

Unfinished Song is full of predictably poignant moments; you’d be lucky to survive the film dry-eyed.

Memories of Me is not great cinema, but like the best Hollywood schmaltz, it's delightful. [07 Oct 1988, p.E6]

One of the surprises of Spike Lee’s Oldboy is just how dark the film dares to get.

But as rich a comic turf as the huge egos and even bigger neuroses of Hollywood types would seem, For Your Consideration always seems a bit too tame for its own good: It never busts out the way you hope it would.

What does set Shrek the Third apart is the quality of its animation, which reaches a level of expressiveness in the faces that would make even Hollywood's heavily Botoxed live-action stars envious.

Pryor and director Walter Hill do a competent job collaborating on comic pace in Brewster's Millions. But the screenplay by Herschel Weingrod and Timothy Harris isn't audacious enough to twist the ending and let Pryor's character grow. Brewster's Millions is a pleasant summer laugh, but it's not comedy that bites.

A well-intentioned coming-of-age film anchored by two indelible performances but weakened by an overabundance of drama.

The Next Three Days might have fared a lot better if the screenwriters had stuck to "The Next Two Days."

Sports a cool, early '60s soundtrack of hit-radio pop. But, make no mistake, this is no "American Graffiti."

Isn't riveting, but it's diverting enough.

Even though Lower City ultimately leads nowhere (the movie doesn't end so much as simply stop), you won't mind having taken the trip.

Grisham is an expert at hooking the audience, and he fills the edges with legal details that, realistic or not, are always fascinating. Runaway Jury is an adequate, unremarkable piece of work, but as they say in the book world, you won't be able to put it down.

The fragmented style is distracting and ultimately annoying, robbing the story of its suspense and drive while contributing nothing except self-conscious style.

Stella is another strong showing for Goodman, one of three great performances in a movie that might jumble its story a bit but mostly does justice to a classic. [2 Feb 1990, p.G5]

Plays out as little more than a diversion, one that does not truly break any new ground. But it's undeniably interesting and leaves plenty of room for a more thoughtful film about women and education.

A passable adaptation of Kinney's novel, but no replacement for the real thing. Read the book, then see the movie.

There are not as many jokes as a 95-minute movie needs, however, and most of the good one-liners are doled out to the supporting players rather than to Dangerfield, who goes ahead and rolls his eyes anyway. He's a good sport about it, but his fans are going to wish instead for one of those "concert" movies, such as the ones that showcase Richard Pryor. And those without an abiding affection for Dangerfield are going to wonder what the rest of us have been laughing about. [23 Aug 1983, p.C5]

The fact that the entire film is in Spanish, and Ferrell plays a Mexican named Armando, are two of the tamest elements in the movie.

Though this film can be clumsy, its ambitions are equally -- and admirably -- uncommercial.

As with many biopics, Richard is seen as the perfect hero, a man who singlehandedly changed the way the United States treats its disabled citizens. That's a bit of a stretch.

Despite a last-minute attempt to bring poignancy to the tale, you don't walk away from Overnight feeling sorry for Duffy as much as you are glad you never met him.

An unexpected ode to peace.

In an ironic twist, Mira Nair's big-hearted yet by-the-numbers biopic of Amelia Earhart never -- unlike the famous aviatrix -- takes chances.

Letters to Juliet will never be mistaken for an epic romance -- too light, too silly, too mistake-prone -- but the ingredients of its tasty chick-flick stew are tried and true.

Doesn't break any new ground, but it doesn't leave you wishing you had stayed home, either. Considering the state of action movies today, that's something.

Just because the new The Day the Earth Stood Still is green, though, doesn't mean it's dull. If anything, there's a lot more mayhem and destruction this time around.

It's Zellweger's movie to win or lose, of course, and she succeeds without the slightest touch of Hollywood glamour.

Quite simply, Les Miserables is a messy classic -- difficult to condense, contrived and highly melodramatic, which made it fine fodder for a pop opera. To counter the antiquated excess, Danish director Bille August ( Pelle The Conqueror ) keeps the mood as cool as an autumn night in Copenhagen, which also creates an emotional distance. [01 May 1998, p.6G]

Driving Miss Daisy unfolds at a leisurely pace, with great attention to period detail and character-aging makeup effects....It's occasionally quite funny, and relentlessly good-hearted. And never, ever does it whack you over the head with its theme. [12 Jan. 1990, p.G5]

Veteran director Manuel Gomez-Pereira (Boca a Boca, Between Your Legs) falls short of the manic screwball farce he was aiming for.

To call Meek's Cutoff slow doesn't begin to describe its pace. There are stretches that are, frankly, boring. But the vivid details and intimacy you develop with these travelers sticks with you.

Barkin's performance is deranged and wonderful. You won't see anything else like it at the movies for a long, long time -- at least until Edwards returns to the gender-swapping theme. When he does, perhaps he'll make it funnier. [10 May 1991, p.G5]

Despite its exciting moments, the film is too long.

The kind of stupid-funny movie that should only be seen in a crowded theater.

Strolls from high sentiment to low humor without a stumble, but without reaching any great depth or height.

But much of what happens in Husbands and Wives isn't just stock Woody. It's stock Hollywood, too. [18 Sept 1992, p.G5]

As much as I laughed throughout the movie, I cannot mount a cogent defense of the film as entertainment, or even performance art, although the movie does leave you marveling at these guys' superhuman capacity to withstand pain. Compared to these jackasses, Vin Diesel is a big, overpaid wuss.

We Bought a Zoo is the most formulaic movie Cameron Crowe has ever made: It is so generic, you could review it with a flow chart.

Claire Dolan leaves you as unfulfilled as Claire feels after having sex with one of her johns.

Jarmusch is interesting, and funny, even when he's falling flat. And the real unifying agent here, Tom Waits' determinedly bouncy sound track, is full of perverse whimsy; it works a kind of magic on the film. It's a good thing. Night on Earth much needs the magic. [08 May 1992, p.G5]

Shaolin Soccer applies everything you love about Hong Kong action flicks to the paint-by-numbers sports-movie formula.

The Road Warrior shows what happens when filmmakers learn something on their way to the sequel. Though the action here follows a predictable course (it's high-tech Shane), the milieu is fascinating, the story sophisticated where Mad Max was crude. [25 May 1982, p.D5]

The best thing about this big, imaginatively detailed movie is its premise, which director Francis Lawrence, a music-video veteran, takes his time exploring.

A dreamy, ravishing ode to romantic longing, and it is bound to frustrate people who like their movies to get to the point, or at the very least have one.

The Frighteners never finds a satisfying groove -- comedy-horror hybrids are formidably challenging -- but moments in it reach giddy, frantic heights. [19 July 1996, p.5G]

The several ideas whizzing about in this story are frankly fascinating, and though there are times when the film seems sadly out of date, the film has a real pull to it. [16 Mar 1990, p.G5]

May not be so deep or richly imagined as J.K. Rowling's universe of magic and Muggles, but the film is populated by likable characters, great special effects and a neat premise.

Jackman's charisma breathes the fire into Wolverine, not the rather pedestrian script or the by-the-numbers action.

Hail, Spartacus. You're no Kane, you're not even Lawrence. You're a movie dinosaur, lumbering and overpraised. But it's good to have you back. [8 May 1991, p.D1]

The Undiscovered Country looks and feels more like a movie and less like a TV-family reunion. Still, the allegory is labored to say the least. [6 Dec. 1991, p.G5]

Director Ernest Dickerson uses elegant visuals, suspenseful editing and lighting to give Bones its edge.

Mission: Impossible is full of red herrings and MacGuffins, but even if you can't keep track of who's doing what to whom, it's hugely enjoyable for its sheer kinetic power. It's a soulless trinket, and it never really grabs you the way good action films do. But it moves like a demon, and it's consistently dazzling. [22 May 1996, p.1D]

Suffers from dialogue that often sounds like convenient exposition as well as from a climax that feels too pat and prosaic. But the film is peppered with small, explosive scenes that have a refreshing complexity.

Leoni's presence adds a jolt of energy to a movie that, while not necessarily worth going out of your way for, turns out to be a lot more clever than it initially appears.

This is a slight and unessential picture, but its quirky, compassionate tone seems destined to attract a cult following, and members of high-school drama clubs everywhere will be riveted.

The Jungle Book won't replace memories of Disney's earlier version, but it's the perfect choice for action-hungry kids who won't sit still through Little Women. [23 Dec 1994, p.G3]

It's more amusing than not, but some scenes outlast the humor in them.

A better primer-for-the-uninitiated than an in-depth, fresh and insightful examination of a famous and remarkable life.

The movie is unwieldy and overstuffed with subplots - and, at 2 1/2 hours, probably too much misery and sorrow for most viewers.

Bullet in the Head is a throwback to the past with its eyes trained on the present, and it proves Hill has kept up with the times.

And although The Cooler doesn't do anything fresh with its Vegas milieu, the movie is refreshingly frank and astute when it comes to depicting sex.

The intended satire doesn't deliver the kind of punch you may expect, but it nevertheless poses many what-ifs.

All in all it's a decent, well-put-together romantic drama to hold hands to on the weekend.

There is something weirdly appealing about Commando and its self-deprecating celebration of violent excess. [16 Oct 1985, p.D5]

Yet even when the bickering diminishes the impact of the story, Wiener himself makes Fighter another interesting story to come out of World War II atrocities.

If nothing else, Yes is certainly a brave experiment.

Unknown is never boring, and Collet-Serra mostly keeps up a lively pace, but he doesn't do the movie any favors with the flat, dull way he films the scene in which we finally learn what's going on.

A devilish little comedy whose urbane, satirical humor will probably sail right over the heads of audiences weaned on Scream.

The most charming bad movie ever spun off a hit TV show.

Zombie lore doesn't allow for redemption, only head shots, and Levine's film, amusing though it may be, is never gory enough to truly become a classic zombie movie. It also ignores the one basic necessity of monster films, even the funny ones: It really ought to be creepy or scary or gross, at least once or twice.

Lorna's Silence doesn't work, but it's a beautiful misfire.

It's fluffy stuff, lovingly made and instantly forgettable. [20 May 1988, p.5]

This warmhearted yuletide comedy has enough slapstick and gags to keep the kids rolling in the aisles, and Mom and Dad entertained as well. [11 Nov 1988, p.C7]

Blended isn’t Sandler’s funniest movie or his best, but it is a big step up from the dregs he’s been churning out, a messy, shaggy dog of a comedy that you can’t help but like even as it sheds all over your house.

The bigger problem is that neither Jolie nor the script bothers to flesh Louis out as a fully formed person with faults and fears and regrets, which keeps the film from ever capturing you emotionally.

It moves slowly, but you suspect that is the way of life in Mea Shearim, the closed quarters of a group that triggered Gitai's respect and our curiosity.

The result is that rare breed of big-studio pictures: A remake that makes sense.

The Family Stone should have been a glittering holiday bauble along the lines of the irresistible Love Actually. Instead, Bezucha stuffs into our stockings what he thinks is good for us. It's not coal, but it's not entirely what we were hoping for, either.

Closer in spirit and tone to the comic books that spawned it.

Wisely, Romper Stomper never preaches or moralizes: The subject matter does that well enough on its own. [03 Dec 1993, p.G4]

With this gorgeously melodramatic ode to cinema, the filmmaker comes dangerously close to losing himself inside his celluloid dreams -- and leaving the audience behind.

The most interesting aspect of Danny Deckchair, though, may be that the film is based on the true story.

Linklater's Bears are even scrappier, fouler and worse-behaved than their 1976 counterparts.

Even at his worst - and Robert does some awful things - the actor almost makes you root for him, hoping he'll get away with it.

What The Four Feathers lacks is genuine sweep or feeling or even a character worth caring about.

Easily the slightest and most frenetic entry in the trilogy. But it might also turn out to be the fan favorite, because the movie is nothing but eye candy and visual sensation.

That the film avoids the conflicts making the daily headlines out of Israel is one good reason why James' Journey, though not very well made, is interesting.

Occasionally, this Bounty seems about to soar; the scene in which the ship first makes land at Tahiti, all throbbing drums, bare breasts and hooting sailors, is wonderfully rich if no less cliched. At other times, as when the Bounty leaves calm water for a gale in a split-second cut, the film seems almost amateurish. The rest of it occupies the middle ground between ho-hum and grand -- sure to disappoint those knowledgeable about the early films, still likely to engage those with two hours to kill. [05 May 1984, p.C5]

With its convoluted pretentiousness, heavy use of metaphors and obscure references to art, fails to maintain interest.

See How They Fall is at its best when coasting on the chemistry between scheming Max and childlike Johnny, whose odd- couple relationship arises out of necessity and ends up as something closer to father and son. First-time director Jacques Audiard toys with the story's timeline and wraps things up with a subtly cold-blooded ending that earns the film its noir status with a wink and a bitter smile. [10 Feb 1995, p.19G]