Very few moviemakers, I think, could have done the thing quite this well. At the end of Avalon, which is more than two hours long and does not move quickly, the extended and fractious immigrant Krichinsky family has bloomed into fabulous life, the characters deep and rich. [19 Oct 1990, p.G5]

James Franco looks more bored and distracted in Rise of the Planet of the Apes than he did when he was hosting the Oscars: Watching the movie, I kept waiting for him to pull out his iPhone, aim it at the camera and take a snapshot while mugging sheepishly. Has there ever been a film with a less engaged protagonist?

Offers a rose-colored picture of life, but one that Campanella makes ring true.

Perhaps because we see so few musicals at all, the Streisand model seems welcome on any terms. But there is also a great deal of warmth in the picture, and it has what one-man shows do when they are working right: It has conviction, and a sense of the artist's vision. This movie was not made by committee, and hence it is free in a way that few American films are. [09 Dec 1983, p.D12]

Turns out to be amusing and astute, a smart observation on the ups and downs of female friendships.

My Cousin Vinny is not without its flaws: The movie is overlong, the middle section sags, and there are a couple of running gags that simply aren't very funny. And while the film's courtroom climax is preposterous, the last half hour is definitely worth sticking around for: Pesci makes it a hoot. [13 Mar 1992, p.8]

A sleek, rousing contraption, a comic-book movie with a sense of playfulness, a welcome streak of humor and just the right touch of gravity.

The movie's faults aside, this is the kind of show where half the fun is watching it in the company of a large group of people.

''Everything got a rhythm, even pulling cotton off the plant,'' a field hand offers helpfully. Like his eager young bluesman when he finally hits the stage, Sayles hits exactly the right notes.

Not the kind of documentary that will appeal to a large number of moviegoers. Yet it makes perfect sense that it will be shown on the campus of University of Miami, famous for its strong medical school.

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]

While the scope of the movie is bigger, its impact is smaller. "Blue Valentine" was a precise, heartrending portrait of a marriage coming apart at the seams. The theme of his new movie is a lot harder to discern.

The movie is slick and entertaining, but much of it is as superficial as a Twitter post.

The Rescuers Down Under is a cartoon ode to adventure movies -- at once suspenseful and silly. [16 Nov 1990, p.G11]

Lethal Weapon is neither a good film nor good entertainment, but it will be a big hit. It takes two popular stories, scrambles them together and delivers something truly bizarre. It's The Cosby Show meets Rambo. [06 Mar 1987, p.D5]

Jarmusch has never seemed quite this baffling -- or quite this dull.

Though the charter of the Enterprise charges its crew to "go boldly where no man has gone before," the marketing strategy of Paramount Pictures clearly mandates that the film go quietly in a predictable fashion to a place where the mass audience will feel comfortable. This Star Trek II does, with its familiar faces and lovable homilies. The film seems bound to be one of the summer's big hits. Kids will love it, and dozing adults will at least find it endurable. [5 June 1985, p.C4]

For all its doom and gloom, Revenge of the Sith turns out to have a happy ending after all, giving Star Wars the send-off it deserves.

A momentary diversion.

Fast, frantic and furious, but it is not steadily funny. While not boring, it is too light to be taken seriously.

Essentially an old-fashioned movie, nothing fancy, nothing new, just some jokes and some action and a crowd-pleasing finale.

Though all actors are up to the challenge, it is the plot that makes The Inheritance shine.

As an older, slightly less athletic but no less Sybaritic Bond (he carries an attache- case sampler of caviar and pate de fois gras), Connery is perfectly suited. [8 Oct 1983, p.C5]

Efron makes you believe he’s capable of anything. Neighbors is rude, brazen and merrily offensive, and the movie mines the homoerotic undertones of fraternities to fine (if lowbrow) comic effect. But Efron, of all people, gives the film a curious edge.

The writers have 13-year-old humor in their hearts and an overdose of late-night movies in their minds. But there was no snowballing of the humor; the jokes leave you tickled, but never build to a comic crescendo. [23 June 1984, p.D6]

Will Noah anger some rigid purists and scholars because of the liberties it takes? Perhaps. But the point to take home is the message the movie leaves you with, which works regardless of your faith (or lack thereof). Humans are inherently flawed. How we deal with those defects is what truly matters.

That’s one of the great accomplishments of Ascher’s film: Intercutting his interviews with fictional recreations of what the subjects are describing allows you to see a version of what they saw, and you don’t need to believe any of it for The Nightmare to give you a major case of the creeps.

Whip It is completely predictable from the first frame. It also is ridiculously, utterly entertaining.