A rollicking, jumbo-sized swashbuckler, awash in sword fights, cursed treasures, plank walkings and hurtling cannonballs. This stylish, rousing movie has been directed with refreshing levity and wit.

Jaglom isn't the first to suggest that food is at least as powerful as sex when it comes to enhancing life, or screwing it up. But he's the first to bring his giddy blend of documentary and farce to bear on the subject. Mmm-mmm, good. [08 Feb 1991, p.G12]

Your basic, humdrum love story, Hollywood-style...The movie's soundtrack provides the most entertainment. Classic Elvis tunes such as Love Me Tender, Are You Lonesome Tonight and (You're the) Devil in Disguise plus others sung by Billy Joel, Amy Grant, Bryan Ferry, Dwight Yoakam and other contemporary pop and country stars keep the film groovin' -- but not enough to make this a Honeymoon worth remembering. [28 Aug 1992, p.G5]

Green Zone is just an excuse for director Paul Greengrass to haul out his jittery hand-held camera as Miller and Co. sprint through the streets and buildings of Baghdad in pursuit of one villain or another.

The movie doesn't make you care.

Farmanara bears his soul, and his honesty permeates this work as strongly as the smell of camphor.

Doesn't feel quite so lengthy as its predecessor. And while it still falls short of becoming the classic fans so badly want it to be, the film is livelier and better overall than "The Sorcerer's Stone."

Feels more like a lecture you've already heard than a galvanizing call to action.

The River Wild is simply a procession of banal, dull situations that add up to nothing. [30 Sep 1994, p.G4]

Octopussy is not very good. Though there's a good car- and-train chase scene and the usual schedule of narrow escapes, this one has fewer adventure sequences and less drama even than the last half-dozen. There are more gimmicks. [10 June 1983, p.12]

The only thing missing from this winsome, madcap throwback set in London on the eve of World War II is an actual Brit in the title role.

It's a dreamy Southern gothic, a la "Night of the Hunter," with an emphasis on the dreamy.

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 an A-list thriller directed by Barbet Schroeder (Reversal of Fortune, Barfly ) and graced with wonderful performances by Bridget Fonda and Jennifer Jason Leigh. [14 Aug 1992, p.G5]

The movie is wild, but not in the ways that you expect, and it’s also surprisingly chaste — you think you see a lot more than you actually do.

For all its charms, sometimes feels as self-obsessed as the characters it slyly mocks.

Unlike "Jaws," Open Water isn't much for traditional popcorn-movie scares. Instead, the movie is more interested in depicting the gradual deterioration of its protagonists' sanity, and how that affects their relationship.

May disappoint those who expect a more traditional Chinese setting. But, despite its modern look, this is far from being a Western film.

It is a testament to how well the movie is made that even the most hardened viewer might find himself tearing up at moments -- and you won't have to hate yourself in the morning.

Six years after its release, "City of God" is still electrifying and fresh: It hasn't aged a bit. City of Men, though, already feels strangely stale.

It throbs with innocence; like prom night itself, it's an instant good memory. And like its creator, the always surprising John Waters, it's sideshow weird. They don't make 'em like this anymore. They never did, either. [6 Apr 1990, p.G5]

Although there are some initial feints at using zombies as a metaphor for third-world issues and cultural differences, the picture forgets all that stuff by the final reel. World War Z opens with an undeniable bang. But if this is the way the world ends, we’re going out with a whimper.

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

Although the movie never so much as flirts with melodrama, there is still a bittersweet undercurrent.

The film is weighted down by a dour sensibility at odds with the book's insouciant charm.

Costner does things he hasn't done in years: He's funny and playful; he laughs and cracks jokes; and he doesn't look like he's carrying the weight of the universe on his shoulders.

The Dreamers argues that life must be lived, not dreamt. But it also remembers the confounding pleasures of dreaming with your eyes wide open.

A thoroughly satisfying and engaging children's picture that never forgets those kids probably didn't get to the theater by themselves.