The fourth comic book movie of the summer is the best comic book movie of the summer. Johnston has delivered a light, clever and deftly balanced adventure picture with real lump in the throat nostalgia.

They (Refn and Gosling) have collaborated on a car picture that unnerves us with its idling quiet, and then pins our ears back when they stomp the accelerator.

British director Mike Figgis has a genuine knack when it comes to things such as mood, pacing and atmosphere. But he tends to lose track of crucial points - such as whether or not a central character comes out of the story alive. [19 Jan 1990, p.4]

Fright Night can also boast of having the best vampire-villain in ages. The bushy-browed Colin Farrell was BORN to wear fangs.

"It was a perfect tabloid story," the Brit Peter Tory, who covered it, remembers. "Kinky sex, religion, kidnapping, a beauty queen."

Those who enjoyed the gremlin-in-the-microwave scene from the first film will probably love the paper-shredder sequence in the new one. [15 Jun 1990, p.6]

It's a little racy for our "High School Musical" set. But Bran Nue Dae (say it out loud) will play anywhere fans like a musical so cute you want to pinch its cheeks.

A winning "Robin Hood and his Merry Doormen" comedy about getting even. A cast of comedy specialists each deliver their comic specialties to perfection, delivering double-takes and one liners so well that you don't notice how clunky the actual caper in this caper comedy is.

Stephen King's Graveyard Shift is the 19th Big Steve story to be made into a movie, and it's one of the more decent ones even though the gigantic mutant-slime octopus monster that lives in the basement doesn't really ever appear on screen where you can get a good look at him. [23 Nov 1990, p.15]

Has a lot of that winking wit we've come to expect from our post-"Spider Man" Marvel movies. It has a hunky, self-mocking young star, solid support from a couple of Oscar winners and the slick sheen that state-of-the-art effects can give you.

Farmiga directs and plays this as a woman with questions. Thus, the tone is a bit all over the place - frank discussion and depictions of sex, but with an equally frank embrace of Christianity, talking the talk and walking the walk.

Perry's great gift to this unfilmable play is getting it on the screen, his sharp eye for casting and his evident affection and sympathy for black womanhood, even in movies in which he doesn't don a dress.

The daft feather-light French farce Potiche is a period piece designed to remind us of just how far and how fast women have come in the Western world.

Although Moretti's deadpan delivery and his film's relaxed pacing may be too unemphatic for some, those on his wavelength will be delighted. If you like this sort of comedy, treat yourself to Caro Diario. [09 Dec 1994, p.34]

The actors make the most of Carroll's dialogue, which is often quite witty. [22 Jan 1999, p.17]

The mercurial Brand is spot on as the mercurial Aldous, putting over outrageously titled tunes with panache.

Greatest Movie isn't Spurlock's best. It plays like an overlong, overly cutesy TV news report (woman and man on street interviews included) on product placement.

The triumph of this bleak, unsettling picture is that, no matter how grim it gets, it's far too involving for you to turn away.

A first-rate one-woman-against-the-system drama.

Nobody's Fool is funny at times and as cuddly as an old teddy bear. But this movie is being taken far too seriously in some circles.

Most of the time, Soapdish is fairly amusing in a zany, anything-goes kind of way. [31 May 1991, p.5]

The film's fascination is primarily a result of Woodward's crafty, painstaking depiction of the three personalities stemming from the same woman. [09 Nov 2003, p.9]

What's missing in Point of No Return is basically the same thing that was missing in La Femme Nikita - cleverness. Both are stylish action pictures that would seem a lot more stylish with a few ingenious plot twists. [23 March 1993, p.E1]

Although FernGully is no Little Mermaid, it moves along nicely, and the ecological message generally stays out of the way of the action. [10 Apr 1992, p.24]

White Men Can't Jump isn't a terrific movie, but it's the best showcase Snipes has had so far to demonstrate how hip he can be.

One triumph of The Untouchables is the way its operatic style accommodates larger-than-life performances.

A brisk blast of bloody good fun, sci-fi with a little social commentary as subtext. Attack the Block is the movie that "Battle: Los Angeles" was not - thrilling, nerve-wracking and fun.

The spookiest and most entertaining horror flick since "Paranormal Activity."