Not a neat and tidy thriller. It is a most engrossing one, commanding our attention even as the filmmaker tries to slip this or that hole in the plot past us.

Stuffed to the gills with Perry's mix of the sacred and the silly and a serious dose of self-help for the self-absorbed.

LW3 features a lot of violence but not nearly as much as there was in LW2. And Part 3 puts a greater emphasis on the relationships among the characters. [15 May 1992, p.18]

There's no mistaking Flight of the Navigator for a really first-rate children's picture like, say, The Black Stallion. But Flight of the Navigator is an enjoyable film that encourages kids to use their heads. Unlike those children's movies that spoon-feed their audiences, this film keeps setting up challenging situations that young moviegoers must think through.

It's a bit long to be as kid friendly as this educational and visually striking film is meant to be.

Best of all, the filmmakers took the time to give these hard men just the right things to say - not catchphrases, just lines that smell of blood and gunpowder every time Statham, Owen or DeNiro utter them.

No, this isn't how it really happened. But director Charles Martin Smith ("Air Bud") wrings plenty of heartfelt tears and a few laughs out of this fictionalized account.

A sloppy, raucous, time travel farce in the grown-men-gone-wild "Hangover" style, it’s a surprisingly satisfying, if not exactly LMAO, riot.

Brit hunk Alex Pettyfer has grown into a solid and quite interesting lead to build this potential sci-fi movie series around.

Never graduates to the uplifting tale it sets out to be.

The movie is a stupid, over-the-top comic-booky action picture with the occasional cheesy effect, oddball casting and an utterly predictable get-that-guy-before-he-gets-us plot, but Evans and a couple of his mates make it passable entertainment.

Though light enough in tone, packed with good messages and delivering a couple of lovely, touching moments, "Mars" still has that plastic look that made you wish you were seeing the REAL Tom Hanks in "Polar Express" or the REAL Jim Carrey in "A Christmas Carol."

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.

Fortunately, director David Carson and screenwriters Ronald D. Moore and Brannon Braga (all of whom have served in the Star Trek universe) keep the longueurs to a minimum. Whenever you feel like beaming up (or is it out?), they switch scenes.

They're gonna say that it used to be a good movie, but then the Motion Picture Censor Board got on their case and gave it an X rating, and they had to take a chain saw to the movie, and what came out was different. They weenied out on us. They suckered us for five bucks. They profaned the name of the most revered horror movie in film history. And what makes it worse is that the director, Jeff Burr, evidently knew what he was doing. There are a few scenes in this flick that are as scary as anything I've ever seen. [02 Feb 1990, p.12]

Heard sets herself up as a Megan Fox with talent. And Cage? He delivers. Mock him for his bad choices if you will, but consider this. Who else could have made this work, or would even want to?

Though properly chilling when it’s supposed to be, it’s a film whose effects, script and performances keep it at arm’s length when it is supposed to be moving.

Taken on its own merits, this profile of "Buck" Brannaman is a pleasant and touching but somewhat superficial insight to the man and his methods.

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

The players embrace this for the lark it is. Their pleasure in going this gonzo spills off the screen.

What this film from the director of "The Devil Wears Prada" does manage is a gentle amiability.

The finale to the Harry Potter saga is, like most of the films in the series, a bit of a slog. But it's a generally satisfying slog.

Hogancamp seems a pleasant, offbeat and intuitive fellow who probably takes all this less seriously than those who "discovered" him.

City Island is a light “family” romance that goes about as far as its novel location -- an island neighborhood tucked in the middle of New York City -- and a good cast can carry it.

It's amusingly off-the-wall, but entirely too cluttered to come together.

It’s not bad, but as Scorsese, America’s greatest living filmmaker and film history buff should know, even Hitchcock came up short on occasion.

Chairman Mao wouldn't necessarily approve. And even today, China won't be showing Mao's Last Dancer.

Absurdly long, absurdly over the top and absurdly absurd, Five Five - still manages to be more fun than any movie with its outrageous carbon footprint has any right to be.