The fact that there are so many good comic bits here allowed Kasdan to assemble a great comic cast.

Heartwarming, beautifully shot and more English than a basket of fish-and-chips with a side of mushy peas, it’s an easy-to-watch, easy-to-love crowd-pleaser.

So, while “Orion and the Dark” is on one hand a fun and briskly paced fantasy-adventure, it also functions nicely as a smart, thoughtful and often trippy exploration of existential dread.

The Beaver also has a tendency to slip around as it finds its footing. But then the powerful third act comes and Foster, with Gibson's help, hits it home.

An up-tempo and upbeat concert documentary that celebrates, rather than mourns, the last hurrah of a pop-culture touchstone.

Spurlock banks on his charm and likability -- and it's that charm and likability that make The Greatest Movie Ever Sold so much fun to watch.

The result is a movie that, in its best moments, is delightful. It does lose a significant amount of steam halfway through -- likely due in part to its two hours of running time.

Rarely, however, are such stories as emotionally laden as that told in Lucy the Human Chimp, a documentary ostensibly about a science experiment but which quickly evolves into something both heartwarming and heartbreaking all at once.

Sommersby's admirable script, by Nicholas Meyer and Sarah Kernochan (based on a story by Meyer and Anthony Shaffer that's in turn based on "Martin Guerre"), turns what might have been merely a pretext for melodrama into a provocative exploration of the meaning of identity. [05 Feb 1993, p.L27]

It's hard to resist the pairing of such talented actors as Robert Downey Jr. and Zack Galifianakis - and they prove why here. They are funny guys, both of whom make the most of the material.

It’s a lot of things, but Master Gardener is first and foremost a Paul Schrader film, and a Paul Schrader film can usually be counted on to deliver one thing above all else: a moody story about a tough man, adrift, who is thrust into a tough situation.

Granted, nobody should expect Black Widow to unseat Spider-Man as the world’s favorite arachnid-inspired superhero. But between Shortland’s storytelling chops, the cast’s charm and Eric Pearson’s solid screenplay, this “Black Widow” has plenty of bite of its own.

As engrossing as The Young Victoria is, this isn't a movie that will stay with you very long. Mostly that's because Blunt's character does little by way of evolving.

RED is so much fun -- and its Over the Hill Gang so likeable -- that this is one of those rare cases where I wouldn't mind seeing them come out of retirement again for another romp.

Never Let Me Go isn't the kind of movie you talk about on the drive home -- it's even better. It's the kind that makes you sit quietly and think, rolling it around in your head and considering the angles.

Even though it's right there in the title, "fantastic" might be a touch hyperbolic in describing director Wes Anderson's stop-motion adaptation of Roald Dahl's The Fantastic Mr. Fox, but only by a whisker.

Aside from the “you-got-your-zombie-thriller-in-my-heist-movie” element, there’s nothing here that’s strikingly original, but Army of the Dead is still fun in its overblown, unapologetically violent way.

Before it gives itself a chance to deliver on that promise, however, it morphs into something different -- something often resembling a soap opera, just with prettier sets and less-passionate smooching.

As effective as it is, The Djinn won’t conjure up nearly as many eyeballs as Spiral, but those who watch it won’t be disappointed — although they might never look at I Dream of Jeannie the same way ever again.

Just as key to the movie's impact are its well-acted scenes of heart-wrenching emotion, although some stray perilously close to melodrama.

Oddly, though, Everyday Sunshine ends up being a mostly optimistic tale. That's because, despite it all, Fishbone is still gigging.

The Art of the Steal is activist filmmaking, but it's well-done activist filmmaking. And, given that the Barnes fight isn't quite yet over, it could also become the most most important kind of filmmaking: the kind that makes a difference.

As mesmerizing as the acting often is, Wolfe’s film is imbued with a certain staginess. Even if you didn’t know coming in that it was based on a stage play, you’d realize it fairly quickly.

It's one heck of a fun ride, a pure popcorn spectacle that doesn't require a knowledge of the Star Trek mythology to make it enjoyable.

Admirably, though, Gibney resists the temptation to climb on his soapbox to deliver some pointed political message. He gives his audience more credit than that.

An undeniable charm emerges in writer-director Azazel Jacobs' film. And so, rather than being anywhere near as smothering as it sounds, it all springs appealingly to life.

Most of all, though, there's the story itself, which was already pretty quirky -- and amazing -- even before Oscar-nominated screenwriter Thomas McCarthy ("Up") put pen to paper for director Craig Gillespe's film.

Life with Mikey is seldom the stuff of belly laughs. But Vidal is a minor find as the cheeky street urchin, Cyndi Lauper contributes off-the-wall support as the Chapmans' ditzy secretary, and Fox's low-key presence is as amiable as ever. [4 June 1993, p.L21]