Wimbledon may have its faults, but it's the sort of upbeat fantasy that's tough to resist. Maybe love wins in tennis after all.

Sometimes less truly is more, and Love in the Time of Cholera is proof.

Absolutely Fabulous works best consumed bite-sized; there’s not enough here to warrant a full-length movie. Too much feels like padding.

The Pick of Destiny is fast and funny, and you can't beat the songs (especially the not exactly heartwrenching Dude I Totally Miss You).

Benji the Hunted is better-than-average family entertainment with some flaws. An irritating musical score undercuts the beauty of the nature scenes. The human performances are regrettable and look downright amateurish next to the animal. Benji is good. Just look into his haunting eyes, and you know why this doggie is a star.

Haynes is clearly gifted; his film is certainly troubling. But it's also wickedly funny in spots and deft with its lampoon in others. Watch this guy. [06 Sep 1991, p.G10]

It's a mean little movie, but it's also thin and repetitive, a premise in search of a story.

Simple, endearing entertainment for the little ones.

The movie earns its R-rating with some graphic (and hilarious) sex scenes and a torrent of four-letter words, but this is a much more sophisticated enterprise than a mere gross-out comedy.

As a story, Mamma Mia! is a sham, a narrative so rickety it makes "Grease" seem like Shakespeare. It fails as a musical, too, since only about half of the songs have any bearing on the scene that preceded them.

This wacky, campy lampoon of 1950s Hollywood musicals is not for everyone.

Buoyed by strong performances from Perez and Miami-resident Milian, Washington Heights overcomes the familiarity of its premise through its passion and conviction.

The actors, aside from Sevani, were clearly not cast for their mad acting skills.

Baier's style is almost uncomfortably voyeuristic, amplified by the casting of a young, inexperienced actor (Pierre Chatagny) in a part that calls for hardcore sex.

If it's not quite as funny as you want it to be, it's still more than enough to keep you entertained.

This is minor Disney at best, forgettable at worst.

Himalaya doesn't need a traditional story line to transport the viewer into another, fascinating world.

Carries a whiff of disappointment: There's little here Mamet hasn't done before, and done better.

Obsession is central to the film's thesis, such as it is. The characters don't converse so much as hold forth, and Greenaway presents the landmark buildings of Rome tableaux with a devotion that seems quite fierce. Dennehy is eye-rolling good as the tormented Kracklite. But what does it all mean? [20 Nov 1987, p.D6]

Isn't exactly original: This is basically "Heathers" for a new generation, its satirical edges dulled, if still sharp enough to sting.

But even if the film is short on analysis and skepticism, Tammy makes for a fascinating subject anyway.

Hackman, with the force of his inelegant personality and his gift for dramatic understatement, makes it go. He has saved a lot of movies, and this is one. [25 Aug 1989, p.G5]

Hysteria never gets too preachy or ponderous, and there's something in the film to educate even the most learned viewer.

It's about a weird little kid, and it's an engaging mix. It is successful in recreating the frissons of adolescence and in slapping the myths around. The film also sports an ending that is pure tearjerker, but at least it earns the mush. [2 Apr 1986, p.D6]

Grim stuff, filled with great sorrow and tragedy, but it's never maudlin or weepy.

The Hitcher has a certain weight. It's not junk, and Harmon is neither a hack nor a beginner just taking his genre shot. His movie is arresting in surprising places, and it never really lets us off the hook. There's something here worth seeing, and something about Harmon as well. What will he do next, and can he top this? [27 Feb 1986, p.8]

She (Blanchett) single-handedly forms the human heart of this engrossing, if ultimately preposterous, supernatural thriller.

Where the film goes wrong is in its attempts to cling too firmly to "Pride and Prejudice."