Captures the essence of the period -- an intriguing, backward era in Spain -- but without the emotional impact that such a film requires.

And though this may seem a perverse observation, Extremities just doesn't work as well magnified and distanced by celluloid. If the attack involves a real man and woman who are just feet away in the same room, the horror, engagement and catharsis are far more deeply felt. [22 Aug 1986, p.D1]

It's a character study and a stunted romance involving characters played by Tom Hanks and Sally Field, and in that strange couple's brackish chemistry the film founders and sinks. [7 Oct 1988, p.E1]

The liveliest and most engaging time killer to come out of Hollywood in a long while. It's junk, to be sure, but it is superbly made junk.

Psycho III is still a comedie macabre -- as was Hitchcock's -- but Perkins doesn't follow the Psycho path. Where the master trod subtly, the disciple relies on emphasis. [03 July 1986, p.D11]

The movie is simply too long for its own good.

The events in this film take place in the 1980s. Let's hope working conditions in Japan have "westernized."

Even Greg’s tattooed and charismatic history teacher (Jon Bernthal) is more interesting than the self-absorbed kid we’re supposed to care about.

Too bad, then, that after two hours of such relentless tension, Prisoners starts revealing its secrets to progressively hokier effect.

The Last Dragon doesn't aim to be more than it is -- a good funny Afro-Japanese-American-hi tech-martial arts- archetypal-fairy tale. But that's something. [30 Mar 1985, p.D7]

This little melodrama is nicely put together and thoroughly entertaining. Plus, the scenery's great. Remember when that was enough? [26 Sep 1990, p.D3]

Black Widow lacks the deeply felt uneasiness of Five Easy Pieces or even the on-and- off rough animality of The Postman Always Rings Twice. It is a polished, professional picture, but it could use a little more heart. [6 Feb 1987, p.C5]

Attention-getting it is. Entertaining, too. But meaningful? Are you kidding? [22 Jul 1984, p.D1]

Even though its story is nothing new, Vice Versa works. [11 Mar 1988, p.C5]

In the end The Overnight promises more than it can deliver: Some of the supposedly provocative material ends up being juvenile, and the movie ends just as the situation gets truly, weirdly interesting. It’s too tame a resolution to a film that suggested the capacity for more.

Even if the whole of Orange County is less than the sum of its parts, Jack Black is not the only thing to like about this movie.

Undeniably charming, and kids will certainly enjoy it.

Clearly, this unabashedly silly movie, written by Jon Hurwitz and Hayden Schlossberg, is the work of people with a grasp of the stream-of-consciousness creativity that a few bong hits can impart.

Huston, unfortunately, is never really believable as a man rediscovering lost principles; he feels out of place in this otherwise fine ensemble.

The movie tries its hardest to celebrate the impetuousness of its hero and the exhilaration of his accomplishments. Mostly, though, it just reminds you of the severity of his mistakes.

Dream Team turns the excursion scene from One Flew Over the Cuckoo's Nest into a full-length movie. Unfortunately, it's a superficial reworking of a classic. [07 Apr 1989, p.1]

One true gem is Daniela Piepszyk, Mauro's teen neighbor, who is a fireball and the leader of the neighborhood gang of boys. You can't take your eyes off her.

A nice set of drapes and a striking ballgown or two are not enough to provide this interesting love story any serious heft or insight.

What’s missing in The Force Awakens – and this is a major, critical flaw – is a fresh story template, a plot that doesn’t build toward a climax you’ve already seen, played out in practically the exact same way. That’s the kind of failing that a lot of fans will overlook while they bask in the undeniable bliss-out the movie delivers. But in hindsight, as you play the film back in your mind, the huge lack of imagination and freshness become more problematic.

It's not a movie for the easily distracted, but it has its rewards for those who pay attention. [19 Dec 1983, p.C6]

It's blunt, to the point, aggressively manipulative and, at 86 minutes, not a minute longer than it needs to be.

Not since Brian De Palma's "Carrie" has a horror movie so effectively exploited the genre as a metaphor for adolescent angst, female sexuality and the strange, sometimes corrosive bonds between girls who claim to be best friends.

It's easy to work up a good head of feminist steam over the misogyny and downright idiocy of a story that suggests that the tyranny of a righteous man can prevent an abused girl from making poor and whorish fashion choices. But it's hard to dismiss completely this atmospheric and persistently intriguing film.