In Snow White and the Huntsman, this talented but woefully miscast actress (Stewart) is expected to rally an entire army of soldiers, even though she usually looks like she forgot the combination to her locker.

Descended from a long and healthy line of high school-sports and academic-achievement films, a hip-hop "Hoosiers" bolstered by a generous helping of "Stand and Deliver" and "Lean On Me."

The People Under the Stairs is about nooks, crannies and crevices, and there's allegory everywhere: comments on the horror of our cities, the Ron and Nancy-esque landlords. [07 Nov 1991, p.F7]

Someone apparently forgot to tell Harrison Ford he was starring in a comedy when he was cast in Morning Glory.

When it comes to exploring our peculiar blindness as to what's important in our lives, the film is a disturbing but accurate road map.

A refined, tasteful film about pure, hard lust.

Has an elegant feel, with beautiful shots on the beach and engaging camera work. If only Philip Jayson Lasker's writing could match that.

Ballard made The Black Stallion and Never Cry Wolf, and he's good with spectacle;: His second-unit crew this time found ways to shoot the controlled violence of big sails in good wind that take the breath away. But the rest of Wind is just out there flapping. What a mess. [14 Sep 1992, p.C5]

Provides the rare pleasure of a blossoming romance between two people older than Kate Hudson or Ryan Reynolds.

Slow-witted, clumsy and almost pathologically reliant on crude name-calling for laughs - Horrible Bosses represents the lowest end of the comedy spectrum.

Not Without My Daughter ultimately does what it's supposed to do. It makes us care, it keeps us interested (mostly), but it rarely delivers more -- despite what the producers might think. [11 Jan 1991, p.G13]

Cujo is one of those nightmares that does not require even the suspension of disbelief. Anyone who can accept that there are dogs, people and cars that don't work can be scared silly by this movie. And, of course, the caveat: Anyone who takes a young child to Cujo needs to have his head examined. [15 Aug 1983, p.C6]

In a movie world jam-packed with teen-agers and computers and fantastic beings, it's refreshing to encounter a film that finds its laughs in the warmth and absurdities of adult interaction. Let the other critics hang Legal Eagles. This jury of one says see it. [20 June 1986, p.D1]

What makes this documentary worth seeing is the sensational courtside footage taken with IMAX cameras, which bring a whole new way of seeing the game to fans who don't get to sit in Jack Nicholson's section.

In the wake of TV's powerhouse "The Shield," Dark Blue comes off as something of a retread, with little of "The Shield's" electric fury, edgy camera work or deft characterizations.

Funny even when it relies heavily on age-old, old-age gags.

Stories about scientists doubting what they know to be true — "Contact," for example — can be provocative and engaging, on an intellectual and emotional level. But I Origins challenges too little and ties up things too neatly for it to register as anything more than well-made, well-intentioned hogwash.

Unfinished Song is full of predictably poignant moments; you’d be lucky to survive the film dry-eyed.

Casanova doesn't seduce so much as lull the audience into a stupor with tedious blather about the battle of the sexes, intermittent but pointless swordplay and clumsy slapstick.

Phillips keeps the movie funny and riotous without glamorizing his characters’ misdeeds. The film is a comedy, but it’s never trivial, and the filmmakers don’t let the government’s participation in what transpired slip by unnoticed.

Pine, who has been so good and so instrumental in J.J. Abrams’ Star Trek series as Captain Kirk, turns out to be a decent Ryan.

Not even Sherlock Holmes could make much sense out of the overplotted, murky mess that is "Sherlock Holmes," although Arthur Conan Doyle's legendarily brainy detective would probably never buy a ticket to a movie as elephant-footed as this one.

Born in East L.A. is a real middle-of-the-roader as comedies go -- not hysterically funny, sort of laid back in pace, with a plot as substantial as the peso -- but its heart is as warm as an enchilada. [22 Aug 1987, p.B4]

Shrill and sloppy film.

Lacks the one element that the filmmakers were most desperately aiming for: A genuine sense of fun.

Poitier is Poitier, and that, after such a dry spell, is reason enough to see the movie. [12 Feb 1988, p.C5]

Patronizing, dull and offensive, this drama about a knight in shining white skin out to serve justice in the name of po' black folk is Hollywood at its sanctimonious, bleeding-heart worst: A movie made by people who are sitting so high up on their hills, they long ago stopped realizing they're looking down at the world. [03 Jan 1997, p.5G]

Though its violence is searing and brutal, the film, about four FBI agents investigating a terrorist attack in Saudi Arabia, shows a conscience and a brain, and if it explains things a bit simplistically at times, so much the better.