It aims -- successfully -- to make you think and feel.

Fey is a good fit with the material, and her co-stars are all solid, including Billy Bob Thornton as a laconic general; Martin Freeman as a boozy, charming Scottish journalist; Alfred Molina as a local politician with a crush on Kim; and Christopher Abbott (Girls) as Kim’s fixer and translator (he tries to keep her out of trouble).

The trouble with Kinky Boots is that director Julian Jarrold doesn't seem to know whether his movie would play better to young hipsters or the blue-haired old lady crowd.

Two predictable disappointments here (among many): As usual, these high school kids appear in fact to be played by folks who have left college well behind them; and, sadder, Just One of the Guys was directed by a woman -- women filmmakers being a worthy cause under almost any circumstances -- yet betrays no higher consciousness regarding kids and sex roles than Porky's 3. [30 Apr 1985, p.B3]

No ears for dialogue around here, either: Several characters observe that the invention "blew my socks off," an expression so odd that we expect it to lead to a comic payoff. But there is none, and there's not much to the movie, either. [30 Sept 1983, p.D1]

Smart People tastes as fake as a Wal-Mart corn dog. Besides, it doesn't even know the work is Faerie Queen, not ''Fairie.'' Somewhere, Edmund Spenser is turning in his grave. You don't even have to be smart to know that.

Spooky and intricately detailed. [10 Nov 1993, p.E1]

The Forbidden Kingdom may be nothing but disposable fun, but it is a great, heaping, overflowing helping of fun. If you're 10, it may also seem like "Citizen Kane."

Albert Nobbs is not a movie about gender politics; it's about trusting in the fundamental goodness of others and accepting one's need for companionship, and the way in which Close slowly reveals Albert's closed-off heart is poignant and often surprisingly funny, though never in a mocking way.

Lives or dies by your ability to buy the sight of Anthony Hopkins and Nicole Kidman snuggling in bed and enjoying hot, torrid sex. This may seem like a superficial approach to such a lofty, serious movie, but it is an insurmountable problem.

Rocky III looks good -- a lean film with a bit of muscle. Stallone makes it eminently watchable. And that's probably more than we should have expected. [28 May 1982, p.C1]

Writer-director Stephane Robelin's frothy comedy is much more "Golden Girls" hijinks than "On Golden Pond."

Emotes mightily but says precious little.

The story may be slim, but Carpenter deserves some credit. He makes more of the car-as-villain than one might expect, largely by filming the Plymouth in high style. [10 Dec 1983, p.B5]

The Best of Times will make points with football fans, and it might even score with believers in the human comedy. But, oh, what a disappointing first half. [1 Feb 1986, p.C4]

Depending on your age, Limelight could make you nostalgic for those bad old days - and sort of glad you'll never be able to relive them.

The movie has been smartly built to satisfy hardcore fashionistas and red-carpet gawkers in equal measure.

Evil Dead is just a well-made gross-out, and it's kind of a bummer.

Often feels like a cartoon that wishes it were live action.

Although the unrelenting pursuit of making the Vatican listen becomes a bit tiresome, the portrayals of the two men by Tukur and Kassovitz are engaging.

It's best to just enjoy Hannibal for what it is: A decadent, elegant waltz about evil's seductive bloom. As sequels go, you could do a lot worse.

Sweet and moving, and occasionally irritating, but it's never embarrassing.

This is more of an exercise in experiential cinema, as well as a blistering critique of a society that drives its poorest to unimaginable acts for mere survival.

The main problem with Iron Man 2 lies in the script.

A blatant sell-out, a wink-nudge pander to Hollywood, disguised as satire.

A brisk, undemanding adventure aimed squarely at the family market, Journey is completely passable in 2-D. But viewing it through 3-D glasses not only quadruples the movie's entertainment value, it also explains why characters are constantly thrusting things at the camera.

Despite funny moments, its attempt at baseball-as-metaphor-for-life ultimately whiffs. [29 Jun 1994, p.E4]

The aggressively over-the-top plot is sloppy and totally irrelevant. What counts are the jokes that fly so fast they're easy to miss.