Despite its exciting moments, the film is too long.

The kind of stupid-funny movie that should only be seen in a crowded theater.

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

But much of what happens in Husbands and Wives isn't just stock Woody. It's stock Hollywood, too. [18 Sept 1992, p.G5]

As much as I laughed throughout the movie, I cannot mount a cogent defense of the film as entertainment, or even performance art, although the movie does leave you marveling at these guys' superhuman capacity to withstand pain. Compared to these jackasses, Vin Diesel is a big, overpaid wuss.

We Bought a Zoo is the most formulaic movie Cameron Crowe has ever made: It is so generic, you could review it with a flow chart.

Claire Dolan leaves you as unfulfilled as Claire feels after having sex with one of her johns.

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]

Shaolin Soccer applies everything you love about Hong Kong action flicks to the paint-by-numbers sports-movie formula.

The Road Warrior shows what happens when filmmakers learn something on their way to the sequel. Though the action here follows a predictable course (it's high-tech Shane), the milieu is fascinating, the story sophisticated where Mad Max was crude. [25 May 1982, p.D5]

The best thing about this big, imaginatively detailed movie is its premise, which director Francis Lawrence, a music-video veteran, takes his time exploring.

A dreamy, ravishing ode to romantic longing, and it is bound to frustrate people who like their movies to get to the point, or at the very least have one.

The Frighteners never finds a satisfying groove -- comedy-horror hybrids are formidably challenging -- but moments in it reach giddy, frantic heights. [19 July 1996, p.5G]

The several ideas whizzing about in this story are frankly fascinating, and though there are times when the film seems sadly out of date, the film has a real pull to it. [16 Mar 1990, p.G5]

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.

Jackman's charisma breathes the fire into Wolverine, not the rather pedestrian script or the by-the-numbers action.

Hail, Spartacus. You're no Kane, you're not even Lawrence. You're a movie dinosaur, lumbering and overpraised. But it's good to have you back. [8 May 1991, p.D1]

The Undiscovered Country looks and feels more like a movie and less like a TV-family reunion. Still, the allegory is labored to say the least. [6 Dec. 1991, p.G5]

Director Ernest Dickerson uses elegant visuals, suspenseful editing and lighting to give Bones its edge.

Mission: Impossible is full of red herrings and MacGuffins, but even if you can't keep track of who's doing what to whom, it's hugely enjoyable for its sheer kinetic power. It's a soulless trinket, and it never really grabs you the way good action films do. But it moves like a demon, and it's consistently dazzling. [22 May 1996, p.1D]

Suffers from dialogue that often sounds like convenient exposition as well as from a climax that feels too pat and prosaic. But the film is peppered with small, explosive scenes that have a refreshing complexity.

Leoni's presence adds a jolt of energy to a movie that, while not necessarily worth going out of your way for, turns out to be a lot more clever than it initially appears.

This is a slight and unessential picture, but its quirky, compassionate tone seems destined to attract a cult following, and members of high-school drama clubs everywhere will be riveted.

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

A better primer-for-the-uninitiated than an in-depth, fresh and insightful examination of a famous and remarkable life.

The movie is unwieldy and overstuffed with subplots - and, at 2 1/2 hours, probably too much misery and sorrow for most viewers.

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.