It's an exploitation B-flick with a grade-A cast. [17 Mar 1995, p.5G]

Disney is trumpeting that Operation Dumbo Drop is "inspired" by a true event. In fact, it is loosely based on a short story by a former Green Beret. But it still doesn't fly. [28 Jul 1995, p.7G]

Regardless of its veracity, this portrait of a drug-addled star who just wants to express himself artistically contains implications that exceed the filmmakers' intentions.

The biggest offense in the somewhat unimaginative but serviceable legal thriller High Crimes is that the venerable Morgan Freeman simply does not get enough screen time, and when he's up there, he doesn't have enough to do.

Who would have thought one of the best things about the new Farrelly brothers' movie is a cameo by Tony Robbins?

Technically a prequel to "Da Vinci" but could also pass for a two-hour episode of "24," rarely stands still long enough for anyone to deliver a monologue.

You don't walk into Fortress expecting much, and the fact that it entertains as well as it does comes as a surprise. There's plenty of violence and gore here -- Gordon hasn't forgotten his Re-Animator roots -- and the plot offers enough curves and twists to make you overlook the movie's limitations. [7 Sept 1993, p.D6]

Whether you'll enjoy this loud and rowdy remake of a 1974 Burt Reynolds film depends on your tolerance for three things: football, Adam Sandler and unabashed product placement.

Director Lone Scherfig (An Education) doesn't have such luxury, but she infuses her snapshots of their relationship with humor and poignancy.

Once in a great while, a film of insight and wisdom defines a generation. Step Up is not that film. Instead, it's the sort of mildly entertaining movie that comes along a couple of times a year.

The film relies a bit too much on the humor of older women flipping each other off and mouthing obscenities, although it is hilarious to see the usually proper Smith frantically chopping up a roofie to slip into Sidda's drink.

Airplane II opens promisingly with a spate of hit-and-run gags, but the picture sags in the middle and lies flat for the last half-hour. Bringing on the rigor mortis is the appearance of William Shatner, playing the lunar-base commander who must guide Hays' troubled space shuttle to a safe landing. [14 Dec 1982, p.D14]

The Doom Generation is Araki's boldest -- and best -- movie yet, his most blatantly offensive, his most sexually explicit and by far his bloodiest. [17 Nov 1995, p.6G]

Cusack, of course, is the perfect Anti-Schmaltz. His rapid-fire delivery makes everything he says sound like it's just pouring from his brain to his mouth, so that even the sappiest dialogue is rendered sincere.

With material like this, Samuel Fuller or David Lean might have fashioned an epic war movie for the ages, chock-full of hard-boiled characters and against-all-odds heroics. But in John Dahl's hands, The Great Raid never really lives up to its name, delivering everything you might expect from such a movie, but not an ounce more.

Wonderfully energetic.

Though there's nothing revolutionary about 17 Again, the movie is undeniably enjoyable.

The film rarely makes any sense, and the climactic confrontation is incomprehensible. [10 May 1991, p.G5]

The original's mildly offbeat sense of humor is at work in 2, and the cheesy special effects return as well (the Krites look like nothing so much as deranged Muppets). Still, this is the kind of goofy B-movie that will look good on the small screen -- so watch for its release on tape. [07 May 1988, p.B5]

Amateurishness -- the camera angles sometimes chop off the top of Reiser's head -- aside, The Thing About My Folks is also weirdly dated, especially with regard to technology.

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]

XXX may be a celebration of jock culture stupidity, but it's also guaranteed not to produce any ZZZ's.

The Mummy was certainly no "Raiders," but as far as summer movies go, it was just good enough.

Cynics may roll their eyes at Hardball's earnestness, but the movie proves even the most conventional stories can move and engage you, provided they're told well.

What Shark Tale lacks in originality it makes up for with sassy humor, bright, effective animation and terrific vocal work.

Johansson is magnetic enough to make this batch of Southern-fried corn almost digestible.

You can only string an audience along for so long with scary masks and sudden appearances at the window, and after a while, the suspense starts seeping out of The Strangers, because you realize that's all there's going to be to the movie.

May not be so deep or richly imagined as J.K. Rowling's universe of magic and Muggles, but the film is populated by likable characters, great special effects and a neat premise.