Gangs of New York is many things, but a masterpiece is not one of them. It is primarily, and somewhat surprisingly, a poky western, with a vengeful orphan.

Slamdance has an unusual problem: It's too creative. Director Wayne Wang throws in so many artsy shots and technical tricks that the drama, an intricate murder mystery, is muddled. After the lights come up, you're left wondering exactly what you witnessed. [6 Nov 1987, p.D7]

The undeniable star is the diminutive comedian. He’s the glue that holds the movie together when it wanders into the weeds and starts believing it’s a serious meditation on relationships.

Shakespeare purists may scoff and wonder what the point is, but Morrissette would probably shrug and say ``Why not?''

Masters of the Universe is an enjoyable escape, borrowing rather successfully from E.T., Star Wars and Back to the Future. [17 Aug 1987, p.C5]

Me and You and Everyone We Know brings to mind the work of happily downbeat, bad-boy provocateur Todd Solondz (Happiness, Palindromes), but July is more kind to her oddballs, although she displays a disturbing aptitude for perversity that Solondz would applaud.

This is neither the noir world of old '40s movies, of which he's clearly fond, nor something new and original enough to fit the concept. Instead, it feels like a blueprint for someone else to figure out.

The heist in Flawless comes at the film's midpoint, but although Radford wrings some nice suspense from the sequence, the theft isn't his primary focus here. It's what happens next.

What a mere adult reviewer has to say about this 70-minute film is probably irrelevant. Pokémon fans will see it -- and love it -- regardless.

The film, which comes way too close to preaching, lurches away from the control of director Mark Waters (Mean Girls, Freaky Friday) and ends on a stretched-out note so sappy it makes "Must Love Dogs" look like "8 Mile."

The movie is better when it’s poking sly fun at Cruise’s superheroic screen persona (look at the expression on his face when Ethan realizes just how big the guy he must fight is) than when it asks you to buy into its far-fetched antics.

Despite some admittedly intense sequences and a lean, spare script, The Hills Have Eyes hasn't aged all that well, particularly the business with the cannibals, who are more likely to inspire laughter from modern viewers than anything else. [31 Oct 2003, p.22G]

Decidedly minor Woody.

The movie is at its best when Spurlock dives deep into his subject, interviewing directors such as J.J. Abrams and Quentin Tarantino.

The filmmaker may not appeal to large numbers of filmgoers. But if you get his humor and delicate style, you'll enjoy his latest work.

What the film truly reveals is something else entirely: how Jennifer Lawrence can elevate any material, any time, even middle-of-the-pack fare like this.

Like a lot of anime, the movie remains entertaining even when you have no idea what's going on.

My One and Only isn't exactly memorable, but this little, personable movie is a fine showcase for Zellweger's talents and a paean to the sort of mid-1950s America best remembered in Norman Rockwell paintings.

The most fortunate thing about The Lucky One is that despite a plot hole so big it could generate its own gravity field, it's still not a bad movie.

Vardalos may not have been the best possible Connie. But as Billy Wilder could have told you, nobody's perfect.

Better Off Dead has the body of a tired teen comedy but the soul of an inspired student film; it's the first movie in a long time to interrupt itself periodically with flights of animated fancy. At one point, romantic foreshadowing is accomplished by a "clay-mation" sequence featuring cheeseburgers in love. At another, a lovesick teen draws a cartoon picture of his faithless girlfriend, and the drawing tells him to get lost. [17 Oct 1985, p.B6]

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]

As funny as a lot of the film is, Dogma remains as frustratingly uneven as the rest of Smith's work.

None of the movie's flaws will matter. Teenage girls are going to love Twilight,and many are sure to see it more than once.

Turns out to be something entirely different than it initially seemed, and while the conclusion brings everything to a logical close, it also renders the movie less interesting -- a stunt that didn't merit Bale's startling, and dangerous, transformation.

Though Wise Guys isn't a big movie, its gentle parody of gangster mythology, which adopts the pace and tone of a European caper movie from its opening titles, makes Prizzi's Honor seem naive by contrast. [13 May 1986, p.B6]

Pacino is the only real attraction. His character feels ancient, used-up, bone-tired -- vulnerable, maybe, but numb. We need to see this in his face, and Pacino can use his the way Triple-A uses maps. That face is still one of the great instruments of modern movies. [15 Sep 1989, p.G5]

Solid family entertainment, with thrilling action sequences and gorgeous scenery.