Considered to be producer-director Stanley Kramer's most powerful film, containing his strongest message, a stern examination of the last days of mankind. [21 Mar 2004, p.8]

The Joneses manages a deft blend of the sexy, the sad and the silly. And Borte doles out his secrets and surprises in ways that make it easy to keep up with these Joneses.

The Brady Bunch Movie is certainly watchable, which is a lot more than I had been expecting. [17 Feb 1995, p.19]

Director Walter Hill (48 HRS., The Warriors) keeps things moving quickly while making sure that the story doesn't get lost amid the slam-bang action. And Hill's comic-book-style visuals are just about perfect for the material. [08 Jan 1993, p.20]

For the most part, Life Stinks is about as far from art - or even simple entertainment - as you can get. And if I may be forgiven a small joke that's as true as it is obvious, most of the time Life Stinks stinks. [30 July 1991, p.E1]

Not everyone has realized this yet, but with Wayne's World and So I Married an Axe Murderer, Mike Myers has somehow become the first major movie star of the '90s. [30 July 1993]

A Walk in the Clouds does have its problems, but it looks good enough to eat. [11 Aug 1995]

In the final analysis, the action-picture mechanics of the film are too limiting. No Mercy barely has a subject, much less a theme. Yet moments from the picture linger in the mind. If you don't leave the theater satisfied, you may at least be moved.

It's Shaq, making his motion-picture debut, who in the end turns Blue Chips into a slam-jam-thank-you-man experience sure to please basketball fans who aren't looking for more emotional involvement than a typical night at the O-rena. [8 Feb 1994, p.16]

No breasts. Twenty-one dead bodies. Exploding pickup. Exploding supporting actors. Neck-crunching. Zombie corral. Zombie target practice. Zombie bonfire. Eighteen gallons of blood. A 74 on the Vomit Meter. Kung Fu. Zombie Fu. [2 Nov 1990, p.13]

Failed attempts at satire aside, John Carpenter's Escape From L.A. is basically a routine action picture. [09 Aug 1996, p.22]

It's got everything the original had. Best of 1991. [22 Mar 1991, p.7]

When the dust clears, Blue Steel turns out to be just one more violent movie whose basic theme is women as victims. [16 Mar 1990, p.3]

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 confident, cocky and often comic promenade down the same primrose path.

Wonderland is equal parts Lewis Carroll and Grace Slick. It’s inspired by Carroll’s "Alice in Wonderland" and "Through the Looking Glass," but also, apparently, by Slick’s psychedelic ‘60s anthem, “White Rabbit.” It’s a trip, man.

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

The best faith-based film ever made, an uplifting, entertaining and wonderfully-acted account of surfer Bethany Hamilton's life before and after a shark bit her arm off in the waters off her favorite Hawaiian beach.

Kika is flamboyant and provocative. But the new film, which was partly inspired by the rape trial of William Kennedy Smith, is ultimately quite serious.

Despite its shortcomings, however, the movie is often stimulating in a way that movies generally aren't. A dark, mirthless satire set in the near future, the film keeps your attention by holding a warped mirror up to our own time. [19 Mar 1990, p.C1]

A dark and brawny version of the Robin Hood legend that anchors itself in English history and loses some of the merriment in the process.

It's not as scary as it needs to be or as clever as it thinks it is, but the new 3D version of "Piranha" is at least as gimmicky as those fabled 3D films of yore. With all the pointless 3D cartoons and joyless 3D ""Clash of the Titans" conversions, at last here's a picture that tosses its cookies, its coffee cups and its D-cups right in your lap.

A winning narration (read by Greg Kinnear) holds things together. And there's just enough script for a good cast to run with. Harris and Madigan lift the whole enterprise just by being who and what they are - great actors.

The dialogue sounds irritatingly tough-clever, the premise is elaborately contrived, and the pacing is best described by the term "commercial-ready." But Narrow Margin has one element that lifts it above the all-too-obvious limitations of the material. That element is Gene Hackman. [21 Sep 1990, p.8]

True to the intent of the Christian apologist Lewis' novels, there are lessons to be learned, many of them delivered by the chivalrous mouse, Reepicheep, voiced with a plummy verve by Simon Pegg.

She's the One has fewer rough edges than The Brothers McMullen, but it also has fewer of the weird little nooks and crannies of personality that were the best things about Burns' debut film.

Bottom line: Stake out another movie. [23 July 1993, p.8]

Precious, protracted and pleasant enough.