Simple, endearing entertainment for the little ones.

This movie demands that the viewer -- and even its own characters -- turn into thumb-sucking 3-year-olds with no need for plausibility or logic, as long as there are lots of flashing lights and whooshing noises emanating from the screen.

Although the characters are all cartoons, Ritchie still invests them with enough personality to make them stand out as real people, which is what makes RocknRolla much more involving than your typical Tarantino ripoff.

LL Cool J. plays God like a medieval king.

Has all the makings of another "Ice Storm" -- family tension, teen experimentation, friendly neighborhood wife-swapping and a death in the family -- but falls short in its execution.

How to quadruple your fun: stay home. [17 July 1996, p.2D]

In Keeping Mum, the writers poke gentle, broad fun at the absurdities of English country life and manners while creating a cozy malevolence that's all the more engaging because it lies so far from reality. We know we mustn't murder our loathsome neighbors. But how much fun it is to imagine that we might.

Despite its astronomical body count, John Dies at the End never takes itself seriously, and neither should you.

If you're in the proper frame of mind -- namely, forgiving -- there's some fun to be had here, but you'll respect Don't Be a Menace's daring more than you will its humor. [15 Jan 1996, p.8C]

Lost and Delirious doesn't need metaphors for the power of strength and healing. All the passion and pain it needs glows ferociously in the eyes of its young women.

There are not enough thrilling musical interludes, and few come close to capturing the sly joy in Porter's music.

With more time and a dash more cynicism, the film just might have achieved the thrilling allure of Becky Sharp's perfectly icy heart.

Though Rosenthal is slick enough to lure us into the big Rocky climax, his movie isn't serious enough, or good enough, not to leave a bad taste in the mouth after it's over. [27 Mar 1983, p.L4]

Mischief is captivating enough that its small failings are forgiveable. Its four principal actors -- McKeon, Stewart, Preston and Nash -- are fine-looking, but they don't rely on that surface characteristic to get them through. Under Mel Damski's direction, they seem to know their craft. And so, Mischief is a twinkle for the eye and a wash of nostalgia for the memory. [11 Feb 1985, p.D4]

Solondz's determinedly removed eye for the graphic and shocking is by now practically a cliche. If Solondz really wants to outrage anyone, he'll have to make a sweet and heartfelt drama.

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]

Hysteria never gets too preachy or ponderous, and there's something in the film to educate even the most learned viewer.

Equally thrilling and wrenching, the film is an absolute must for anyone who loves sports and an eloquent explanation for those who don't understand what the fuss is about.

Sorry, folks, but he just looks too much like one of the Fruit-of-the-Loom guys. [7 June 1996, p.7G]

Only two characters are worth much notice; neither is a prince, and one is a really big mouse, which tells you something sad about Narnia's royal family.

The Amazing Spider-Man 2 grows stronger and more engrossing as it unfolds.

Enemy at the Gates will pique your interest in the Battle of Stalingrad, but it leaves that interest sadly unsated.

This film and Miller's vision remind us of the danger of giving in to fear.

The biggest appeal of Passionada is Sofia Milos, a sexy actress who commands the screen in every scene she's in.

His flair for the visual thus cultivated, Besson turns the subway and its corridors into a futuristic, albeit hyperrealistic, setting of light, movement and sound (in Dolby stereo). On that level, the film works...Where it doesn't work so well is as a reverse-Cinderella story between a primal, apish Lambert, who seems to have sleepwalked from Greystoke, and an Adjani who, fed up with boring dinners and haute couture, wants to return to the poorhouse without knowing if the slipper will fit. [18 Jan 1986, p.C7]

Now a vastly larger audience has the chance to experience the masterwork of a prodigiously talented man who died far too young.

here are strange sensibilities at work here, yes. Just not working hard enough. [23 July 1993, p.G7]

The movie is full of holes, but there's never time to worry about them, and everyone's having too good a time ducking in and out of the subplots anyway. [23 Oct 1987, p.D5]