Compromising Positions is not a big movie in any way, and it has its share of rough spots, particularly toward the end. But it's a late-summer concession to grown-up tastes after a season of intergalactic kids. And it's hard to hate a movie that contains this sentiment, again delivered deadpan: "God, I'd love to kill a dentist." [30 Aug 1985, p.D15]

Burnett is probably the most interesting here, but not by much. John Ritter is fun, Marilu Henner is sexy enough to hold her own even while Nicollette Sheridan, who is lovely, colts about the stage in lingerie. Julie Hagerty, as a steadily more nervous stage manager, is the scariest and funniest; Denholm Elliott, the barely reformed boozer who chases every bottle that turns up backstage (and many, many do), is a hoot...The whole thing vibrates with its dark possibilities: Utter humiliation awaits at every turn. Bogdanovich's movie doesn't move at the speed of the live performances of Noises Off that I have seen -- I'm not sure it could, without sacrificing comprehension. But it moves fast enough. If you can't laugh at Noises Off, you're just not mean enough. [21 March 1992, p.E1]

Sneakers is tremendously entertaining when the team is working to breach unbreachably secure institutions. [11 Sep 1992, p.G5]

Today, you can see it for yourself and bask in all its insane glory.

Circumstance, the story of the budding romance between two high school girls, is unlike any adolescent love story you've ever seen: This one takes place in Tehran.

This is speculative, heady stuff, far removed from traditional Hollywood summer entertainment, which alone will earn A.I. a devoted following.

Feels like a cobbled collection of ideas and conceits rather than a stand-alone story.

The film's vague recycling theme strikes me as a veiled admission of recycled ideas. Maybe Zucker should have been bold and called it The Naked Gun 2 1/2: The Smell of Money. [29 June 1991, p.E1]

The Runaways ultimately feels too lethargic and conventional for the wild story it tells.

Return to Ithaca is a bracing and surprisingly vocal expression of angst and frustration by people torn between love for their country and the harsh letdown that resulted from their loyalty.

One of the chief pleasures of My Week with Marilyn - which should not be approached as anything other than fluffy entertainment - is watching Williams bring to life Monroe's inner demons and her movie-star allure with equal aplomb. By the time the film's book-ending closing musical number comes around (That Old Black Magic), the illusion is astounding and complete.

Kill Your Darlings is more coming-of-age story than murder mystery, but its characters are so well drawn and complex the emotional weight carries a suspense all its own.

The script was kept under unusually tight wraps during filming, but the biggest surprise in the picture is how talky the whole enterprise is. Particularly deadly is a long stretch in mid-film where the heroes walk through caves, talk about what they're seeing, get captured and talk with their captors, escape and talk some more.

In a way, Phillip Noyce's film is the anti-"Inception"; it's never dazzling, but it's never confusing, either. It's a Bourne movie minus the exotic locations and sickening handheld camera, and its head spy has way better lips than Matt Damon.

Grim, relentless and immensely satisfying, The Hunger Games: Mockingjay – Part 2 sends out the dystopian sci-fi franchise on a feel-bad high. Readers of Suzanne Collins’ source novel, who already know what’s coming, will be pleased by the movie’s merciless fidelity to the source material (or perhaps, considering the book is the least popular in the trilogy, will just be annoyed all over again).

Likable but uneven comedy by writer-directors Glenn Ficara and John Requa (Bad Santa).

The directors complied and made some trims, which helps explain why the film works better as a thrilling but superficial celebration of two incredible athletes instead of a personal portrait of two world-famous women who continue to make sports history.

Though the filmmakers have clearly done their homework, and clearly care, they don't find much remarkable in the story of Ritchie Valens. Even given the short life at hand, La Bamba is as schematic and predictable as it is likable. [24 July 1987, p.D1]

Apted delivers a fine, righteous climax and packs his film with some of Britain's best character actors.

A slight movie, and in the end you wish it said a little more, but it is also a startlingly honest production. When it's all over, you can't imagine it being any other way.

Saving Mr. Banks is two movies crammed into one cumbersome, overlong drama.

Gamely depicts an interesting bit of history, but its real message is a matter of principle.

An uncommonly polished and sophisticated superhero movie.

Ihave it on good authority that Pat Conroy's The Prince of Tides is a wonderful book. People rave about it. But Barbra Streisand's lumbering, tearjerker adaptation gives little hint of that. This movie is long and full of pain, and it's driven by the most syrupy musical score I can recall. [25 Dec 1991, p.1]

Monsters University feels half-hearted and lazy, like they weren’t even trying. At least show a little effort, guys.

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]

As long as the movie's set in Mexico City, The Matador is a slick and entertaining black comedy, but the instant Danny heads back to Denver, it comes flying apart at the seams.

It's pure popcorn entertainment, and it's pure formula, too: It's already been described, somewhat derisively, as Home Alone for grown-ups, which is not entirely off the mark.