But as useful as it is to chew on ideas that don't hew to climate change dogma, Cool It leaves big questions about Lomborg unanswered.

Romper Stomper offers an intriguing twist on most chase movies: In this one, you don't want the people who are being pursued to get away. [01 Oct 1993, p.20]

In Hero, Frears and Peoples send up the press and the public, but they stop short of debunking the notion of heroism itself. [02 Oct 1992, p.17]

The main difference between Naked Gun 2 1/2 and Hot Shots! is that almost half the jokes in Naked Gun 2 1/2 were at least slightly funny while in Hot Shots! less than a fifth are any good at all. [2 Aug 1991, p.C5]

Somehow, the new production fails to sustain the creepy, kooky, mysterious, spooky and altogether ooky visual sweep that held the first film together.

The charm has aged right out of this silly stoner franchise.

A well-acted tale of an underdog's triumph that sorely lacks an underdog, it teeters between pleasantly generic film biography and rank manipulation.

Poitier's performance and Nelson's low-key direction carried this delightful vehicle, adapted to the screen by James Poe from William E. Barrett's eloquent novel. [14 Jan 2001, p.17]

As it turns out, the three men in Three Men and a Baby haven't got a clue about diapers -- or bottles or formula or anything concerning babies. They're bachelors -- New York yuppies -- who share a fantastic (and, undoubtedly, astronomically priced) apartment in Manhattan. How the lives of the threesome are changed by the new arrival is the crux of this good-natured comedy.

But weird as that is - and as insensitive as the studio's decision about the film's release date may be - the big question for most people is whether Unlawful Entry is a good movie. I think it isn't - not because the film exploits the Rodney King incident specifically, but because it is so exploitative generally. [27 June 1992, p.E1]

Though the film does contain a few other humorously erotic moments, it's mostly a listless exercise in intentional camp.

At two hours and 15 minutes, the new Karate Kid takes an absurd amount of time to get to that “big match.”

The music becomes an aspect of Washington's performance - as does, in a satisfying way, everything else in the film. [03 Aug 1990, p.7]

This mismatched "couple" - have made, over the course of three long subtitled Swedish thrillers, the most dynamic duo of recent cinema history.

The unfailing sweetness of Paul Rudd's lead performance makes what could have been another raunchy and rude R-rated farce a bracing change of pace in a summer of aggressive comedies about aggressive people, from "Bad Teachers" to "Horrible Bosses."

The biggest fault of Jagged Edge is that whatever suspense it manages to generate in its climactic scenes is achieved artificially, through tricky editing and manipulative "danger" music. The mystery of the murder -- which should be generating the suspense -- is so transparent that I wasn't anywhere near the edge of my seat.

Director Walter Hill and screenwriter Ken Friedman invite you to anticipate everything that happens in their story. As each event takes place as expected, you experience the grim satisfaction of seeing fate fulfilled. [13 Apr 1990, p.10]

It's a fairly intriguing (and, surprisingly non-exploitative) premise, but director/co-writer Ernest R. Dickerson is lost when it comes to devising situations that would suggest what goes on inside his characters' heads. These people are all exactly what they appear to be on the surface, which isn't very involving. [17 Jan 1992, p.20]

This "Inception" meets "Made in Heaven" by way of "They Live" is also the screwiest movie Matt Damon has been in since, what, "Dogma?"

All things considered, State of Grace is far from a must-see gangster film. But I guess it'll do until the next one comes along. [05 Oct 1990, p.8]

To watch To Wong Foo is finally to be reminded that camp-meisters often have a weakness for sentimentality that is far more appalling than anything they do in the name of outrageousness. [08 Sep 1995, p.17]

Like those '70s movies it borrows from, there's a blast of tongue-in-cheek politics built around a "They messed with the WRONG Mexican" message. No, this may not go over in Arizona.

For an hour or so, Bigelow (Near Dark, Blue Steel) gets by on that great eye of hers. But about halfway, Point Break breaks down. The plot, which has been unimpressive but not irritating, becomes maddeningly implausible. And the performances, which had been generally engaging, lose their edge.

Red has enough acting flourishes and incidental action pleasures to make it an adrenalin-jacked giggle, if not exactly the romp one so fervently expects.

An often moving and always disturbing film. Little is explained, motivations aren't explored. We miss them, at times. It's still a film of power, wit and thought-provoking ideas, one well worth seeing.

Possibly the most disappointing sequel since "Jaws 2". [10 Dec 1993, p.19]

With its delicate fabric, this film sometimes seems in danger of unraveling. But ultimately it holds together, partly due to Foster's fine, poignant performance and also because some of the characters surrounding Nell reflect aspects of her personality. [23 Dec 1994, p.23]

This is the sort of breathless joyride that we expect - but don't often get - from a summer movie. [24 May 2000, p.E1]