This is a movie that manages to be light and funny and still transcend age, background and culture to treat with compassion our ability to behave in our own worst interests and still nurture hope for the future.

Hilarious, but it isn't much of a movie.

Beautiful to look at but aimless as a broken compass.

The movie runs short of material and loses its comic edge about halfway through, but it's still just jumpy enough to keep you interested -- though the rap-video parodies are almost indistinguishable from the real thing. [15 Mar 1993, p.C6]

Though a "summer" movie set in wintery Chicago might seem less than logical, this one does what good escapist fare should: loses you in a world with enough excitement and fun that surrender becomes easy. [27 June 1986, p.D1]

Nine isn't so much a movie as it is a collection of standalone musical numbers, strung together by the thinnest of plots.

George Burns gets to play both sides of the cosmic fence in Oh God! You Devil, which is actually Oh God! III, and it's this device alone that saves the film, which might otherwise be unbearably cute. [12 Nov 1984, p.C1]

Slight and not exactly memorable, but it moves quickly and has some surprising twists and top-notch performances all around.

"The silence will kill you!" warn the posters for Silent House. That's only if the boredom doesn't get you first, though.

The movie's exploration of prejudice within the military is certainly on target, but it's presented with all the finesse of a classroom civics lesson.

It's all very "Cuckoo's Nest," but in a glib, facile way, and it leaves K-PAX adrift in its fuzzy, New-Agey orbit.

More than just another feel-good teacher movie.

Cleaner, cuter animal antics.

The Mechanic remains singularly uninvolving - a rote exercise in a genre with characters so familiar they barely register.

When it's working Blind Date is frenzied and very funny. It's a return to form for Blake Edwards, who has made a good many bad movies over the past 10 years. And in Willis and Basinger there is the kind of team that, back in the good old days, would have launched a series -- not sitcom/sitdram, but big-screen. [27 Mar 1987, p.D1]

Avary suggests much more than he shows, but his style carries such urgency, you walk away convinced you saw every bullet hit its mark. On that level, Killing Zoe should get Avary noticed -- the long, disastrous and occasionally suspenseful heist is the best part of the movie -- but it's the stuff at the edges that shows this guy has genuine talent. [28 Oct 1994, p.G4]

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

Class Act is a comedy. A deeply flawed one, too: The last half-hour is a mess, as the sly gags of the early going give way to a seemingly endless and perfectly artless chase sequence. [05 Jun 1992, p.E5]

Heartburn doesn't have enough good inside semi-fiction to be of much interest to the Washington cognoscenti, and it's not enough of a movie to stay in the memory of the outside-the-beltway crowd more than an hour or two. What it is is a chance to see our two most celebrated actors at work for a while between films. [25 July 1986, p.D1]

Only one-third of these gags are funny. [5 Dec 1989, p.C1]

You know a movie's not working when you see minotaurs, flying monkeys, "The Wizard of Oz's" Toto and Helen Mirren riding a unicorn -- all on the screen at the same time -- and you're still waiting for the thing to be over so you can go home and get on with your life.

Just may be the most entertainingly derivative movie of the millennium so far.

Shakespeare purists may scoff and wonder what the point is, but Morrissette would probably shrug and say ``Why not?''

Shares an important slice of German history that is largely unknown.

As handsome and playful as the movie often is, it's another example of the let's-further-exploit-a-hit genre.

There are some who may lament Aniston’s choice to step out of her comfortable comedy shoes and little black dresses, but the decision was sound: The best reason to see Cake — the sort of film that makes your life look pretty good in comparison — is to watch her deliver her best dramatic performance to date.

Decidedly minor Woody.

Exorcist III is as gory, convoluted -- and deafening -- as any Nightmare on Elm Street sequel. [21 Aug 1990, p.C4]

The movie isn't really about America and Japan at all; it's about set-ups for gags. [14 Mar 1986, p.D2]

Ardor is never boring, but it’s never all that engaging, either. Here is a movie that ends with a can’t-miss scenario — a siege on a farmhouse in which the heroes are vastly outnumbered and outgunned — yet still fails to ever quicken your pulse.

The performances are standard brat-pack; you could rotate the casts of anything from Risky Business to About Last Night . . . into the picture and it would stay exactly the same. [6 Nov 1987, p.D1]

Jennifer 8 is handsome, dark and menacing, as you'd figure a big-budget whodunit about a serial killer ought to be, but it's also clean out of control. It's one of those thrillers in which the real suspense is over how long it will be before you say, "Oh, come on." [6 Nov 1992, p.G5]

Survives its surface annoyances because Lynch's script also has ambition, heart and something to say other than love conquers all.

Altman seems lost here. We expect Ready to Wear to go behind the glamour of the fashion industry, uncover the pimples and scars on those flawless faces and bodies, wrinkle a few overpriced cat suits. But the movie is as superficial as its subject. [24 Dec 1994, p.G1]

There's no denying the movie's visceral impact: It's too bad, though, that Jakubowicz isn't aiming for anything other than sensation.

Never feels like anything more than a Saturday morning cartoon pumped up to big-screen dimensions.

Likable, cheerfully off-color comedy.

Only a very stony heart could resist its pull.

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

Isn't only the silliest, most ridiculous movie of the summer; it may also be the most flat-out fun.

This is one light, intriguing film that seems heaven-sent for the holidays. [15 Dec 1989, p.G5]

Before it's done, Hello Mary Lou has touched most of the bases, flirting with taboos (incest, locker-room lesbianism, fingernails on the blackboard) and purloining effects from the Nightmare on Elm Street series. It's a badly made film, as awkward as can be, and long stretches of it make no sense whatsoever. Nor does it manage, as the better slasher films do, to re-create a high-school milieu of even passing authenticity. [21 Oct 1987, p.D5]

Something of an overlong, overblown, disorganized mess, despite being slightly better than its predecessor.

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]

There's plenty in Tokyo Decadence to titillate, and plenty to shock, too, and that should be enough to motivate some people into seeing it. The movie is never pornographic, though those who don't get out much are bound to be offended. There are also some interesting observations on Japanese culture put forth by Ai's various clients, though she remains an uninteresting cipher. Despite Murakami's best efforts, the things you'll remember most about Tokyo Decadence are the naughty bits. [23 Aug 1993, p.C5]

The movie is 75 minutes of easy entertainment, important mainly as the launching pad for Downey, whose glibness, good looks and quickness of spirit mark him as a man who may pick up as many accolades as ladies in a promising future career. [19 Sept 1987, p.B5]

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

Sobieski manages to make Jennifer's inevitable transformation more than a little bittersweet. Apparently even clichés click sometimes.

Great messages, of course. But Glee: 3D is not good enough, it's not smart enough, and doggone it, well, you get the gist.

The message in Spanglish is thoughtful and astute; it's the delivery that could use some work.

Isn't much more than the tale of a ''bad'' guy getting in touch with his good side, as well as a love story that makes monster-loving little boys go ''yuck!'' And that's what's too bad about Sinbad.

You can tell they're desperate when they unashamedly resort to showcasing cutesy sea-creature behavior. Sandler is a funny guy. Let him work for his own laughs. He doesn't need a puking walrus to prop him up.

Despite its flaws, The Gatekeeper will keep you engaged.

What you don’t expect is camp. The Counselor is more "Wild Things" than "No Country for Old Men", with which it shares a border town setting. But at least "Wild Things" knew what it was. The Counselor treats its material seriously and seems to have no idea it’s a joke that can’t even muster up a bit of smarty-pants Tarantino cleverness or energy.

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]

Doctor Detroit is Dan Aykroyd's first big solo vehicle, and it has some traditional Motown problems: It sputters and wheezes and lurches, never does run smoothly, never does satisfy. In the spirit of products from another troubled industry, this is a raucous comedy that just doesn't have very many jokes. [10 May 1983, p.B5]

While the gore has made the jump safely, the wit seems to have disappeared. [13 Jan 1995, p.6G]

Does serve up an inspired gag every once in a while.

Action and comedy are more impressive here than in the first film.

The movie, touted as a modern Little Women, shows none of the feminist spirit or evergreen qualities of that film. Even in those cumbersome bonnets, the March clan seemed much more hip and self-assured. In comparison, The Baby-sitters Club feels like fodder for a new generation of Stepford wives. [18 Aug 1995, p.7G]

The plot is rather basic when you remove the clutter. Boy gets busted, needs girl to save his soul. It's all stiff and forced. So are the performances. [10 Oct 1987, p.B6]

Kids will love it. It feels fresh and original and mildly subversive, but it's all a cover for the filmmakers not having the patience or confidence to put together a real story with a beginning, middle and end.

Except for Spacey's talent, elements don't add up.

This sequel, while lacking the freshness of the original, shares much of its charm and for the most part rises above some trite, syrupy dialogue.

Even if the whole of Orange County is less than the sum of its parts, Jack Black is not the only thing to like about this movie.

Paced at the speed at which Arctic ice melts, The Dust Factory is a sluggish, heavy-handed fable overloaded with talk of paradise and the man in the moon.

Pearce gets into his groove swiftly, owns it and remains entertaining throughout. The rest of the movie, however, would work better as a video game.

The special effects used to illustrate these drawbacks are remarkable, but the movie around them isn't. There's precious little chemistry between Chase and Hannah, there's not much real menace in the over-the-top performance by Sam Neill as a CIA assassin, and there's nothing but a skin-deep gloss to Carpenter's direction. [03 March 1992, p.E4]

Basically, it's an inversion of an already proven formula, a kind of Fatal Attraction's Revenge, with every bit of business save the parboiled rabbit, and you can see the ending coming up Main Street. [08 Feb 1991, p.G5]

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.

It's an exploitation B-flick with a grade-A cast. [17 Mar 1995, p.5G]

Disney is trumpeting that Operation Dumbo Drop is "inspired" by a true event. In fact, it is loosely based on a short story by a former Green Beret. But it still doesn't fly. [28 Jul 1995, p.7G]

Regardless of its veracity, this portrait of a drug-addled star who just wants to express himself artistically contains implications that exceed the filmmakers' intentions.

The biggest offense in the somewhat unimaginative but serviceable legal thriller High Crimes is that the venerable Morgan Freeman simply does not get enough screen time, and when he's up there, he doesn't have enough to do.

Who would have thought one of the best things about the new Farrelly brothers' movie is a cameo by Tony Robbins?

Technically a prequel to "Da Vinci" but could also pass for a two-hour episode of "24," rarely stands still long enough for anyone to deliver a monologue.

You don't walk into Fortress expecting much, and the fact that it entertains as well as it does comes as a surprise. There's plenty of violence and gore here -- Gordon hasn't forgotten his Re-Animator roots -- and the plot offers enough curves and twists to make you overlook the movie's limitations. [7 Sept 1993, p.D6]

Whether you'll enjoy this loud and rowdy remake of a 1974 Burt Reynolds film depends on your tolerance for three things: football, Adam Sandler and unabashed product placement.

Director Lone Scherfig (An Education) doesn't have such luxury, but she infuses her snapshots of their relationship with humor and poignancy.

Once in a great while, a film of insight and wisdom defines a generation. Step Up is not that film. Instead, it's the sort of mildly entertaining movie that comes along a couple of times a year.

The film relies a bit too much on the humor of older women flipping each other off and mouthing obscenities, although it is hilarious to see the usually proper Smith frantically chopping up a roofie to slip into Sidda's drink.

Airplane II opens promisingly with a spate of hit-and-run gags, but the picture sags in the middle and lies flat for the last half-hour. Bringing on the rigor mortis is the appearance of William Shatner, playing the lunar-base commander who must guide Hays' troubled space shuttle to a safe landing. [14 Dec 1982, p.D14]

The Doom Generation is Araki's boldest -- and best -- movie yet, his most blatantly offensive, his most sexually explicit and by far his bloodiest. [17 Nov 1995, p.6G]

Cusack, of course, is the perfect Anti-Schmaltz. His rapid-fire delivery makes everything he says sound like it's just pouring from his brain to his mouth, so that even the sappiest dialogue is rendered sincere.

With material like this, Samuel Fuller or David Lean might have fashioned an epic war movie for the ages, chock-full of hard-boiled characters and against-all-odds heroics. But in John Dahl's hands, The Great Raid never really lives up to its name, delivering everything you might expect from such a movie, but not an ounce more.

Wonderfully energetic.

Though there's nothing revolutionary about 17 Again, the movie is undeniably enjoyable.

The film rarely makes any sense, and the climactic confrontation is incomprehensible. [10 May 1991, p.G5]

The original's mildly offbeat sense of humor is at work in 2, and the cheesy special effects return as well (the Krites look like nothing so much as deranged Muppets). Still, this is the kind of goofy B-movie that will look good on the small screen -- so watch for its release on tape. [07 May 1988, p.B5]

Amateurishness -- the camera angles sometimes chop off the top of Reiser's head -- aside, The Thing About My Folks is also weirdly dated, especially with regard to technology.

Slamdance has an unusual problem: It's too creative. Director Wayne Wang throws in so many artsy shots and technical tricks that the drama, an intricate murder mystery, is muddled. After the lights come up, you're left wondering exactly what you witnessed. [6 Nov 1987, p.D7]

XXX may be a celebration of jock culture stupidity, but it's also guaranteed not to produce any ZZZ's.

The Mummy was certainly no "Raiders," but as far as summer movies go, it was just good enough.

Cynics may roll their eyes at Hardball's earnestness, but the movie proves even the most conventional stories can move and engage you, provided they're told well.

What Shark Tale lacks in originality it makes up for with sassy humor, bright, effective animation and terrific vocal work.

Johansson is magnetic enough to make this batch of Southern-fried corn almost digestible.

You can only string an audience along for so long with scary masks and sudden appearances at the window, and after a while, the suspense starts seeping out of The Strangers, because you realize that's all there's going to be to the movie.

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.