Haters, head for the door. But Gleeks? Get your "Glee" on.

You don't have to be a baby sitter to like The Baby-sitters Club, but it would help. It also would help if you're in early adolescence. [18 Aug 1995, p.20]

Memoirs of an Invisible Man had all the right elements to become Chevy Chase's equivalent of Steve Martin's wonderful Roxanne (including the winsome Daryl Hannah), which was also about a form of alienation. But Chase's movie ends up being merely pleasant. [28 Feb 1992, p.17]

It's an efficiently crafted psychological thriller that keeps you guessing - even when you're sure that you have all the answers. [08 Feb 1991, p.6]

It's all tiresome, muddied and artlessly made.

This episodic romance works in fits and starts, and captures a bittersweet faux British turn by Anne Hathaway, plainly mismatched in being paired with real-life Brit Jim Sturgess.

Even if the Blues Brothers routine is a joke that has gone on too long, the music in Blues Brothers 2000 turns at least some of the film into an encore worth hearing. [06 Feb 1998, p.20]

A big-screen version of a routine cop show that occasionally gets by on momentum from the original movie.

For what it is and for whom it is intended, it’s not a bad movie, just an indifferent one.

Sgt. Bilko is a bigger con job than Bilko himself ever pulled. [29 Mar 1996, p.A2]

The big problem is the script by 24-year-old Jeffrey Abrams (Taking Care of Business), which is clearly intended as a parable about how a self-centered overachiever and his disintegrating family are redeemed by suffering and sacrifice. What it's really about, however, is how those people are turned into a '50s sitcom family - complete with puppy dog, spunky adolescent, devoted mom and dim-but-well-meaning dad.

Bad Teacher is a pulled punch, a pot-smoking/kid cussing/teacher copulating farce that is less than the sum of its parts.

An engaging Israeli film about the days when the people throwing rocks, assassinating soldiers and setting off bombs were Jews out to carve a state for themselves out of the British "mandate" in Palestine.

A musical vamp on young LA's decade-long Pussycat Dolls fascination with tarting up like strippers and shaking those money makers, it's somewhat less than the sum of its parts. But those parts. Oh my.

Restless is far more precious than profound. But that takes little away from this soulful teenage exploration of love, life and death.

If there is any reason at all to create a big-budget, 2 1/2-hour film epic about Columbus, it is to bring the explorer and the people around him into focus as human beings. But that's just what director Ridley Scott fails to do. [09 Oct 1992, p.17]

Young Guns II shoots blanks. [02 Aug 1990, p.E1]

Nine Months does have its problems, but it also has its moments, mainly thanks to a truly remarkable cast. [12 July 1995, p.E1]

Fifteen years ago Sylvester Stallone starred in a movie called Rocky, which won an Oscar. Now he is starring in a movie called Oscar that is, well, a little rocky. [29 Apr 1991, p.D1]

The problem isn't that the film is derivative, it's that the film fails at being derivative. In Only the Lonely, we get only the baloney. [28 May 1991, p.D1]

when Mr. Jones is working, it's surprisingly enjoyable, partly because the cast is so entertaining. [9 Oct 1993]

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

Even by kid standards, young Macaulay can't act. The boy just races through his dialogue, barely pausing long enough to be understood. And when the script requires him to actually show some emotion, he sounds completely mechanical - as if he were merely parroting a line reading that some adult had given him. [20 Nov 1992, p.16]

An unsatisfying if often surprising experience, a less warm and fuzzy "Parenthood."

Although Daniel Petrie Jr., who directed and co-wrote Toy Soldiers (with David Koepp, based on William P. Kennedy's novel), has never before directed a movie, he sure knows how to keep things moving. Even with its faults, Toy Soldiers gets by a lot of the time. [26 Apr 1991, p.12]

The film manages one grand "300″ moment, Cavill rallying troops for battle, doing his best Gerard Butler. But the lack of humor, the confusing, stumbling story and limited color palette blunt the film's 3D slo-mo shots of heads exploding and torsos torn asunder by the sword.

A generally joyless pastiche of sorcery history, imitation Potter "chosen one" Messianics and mirthless silliness, it's another in a string of recent black marks against Cage's Oscar-owning reputation.

This is the sort of picture in which people slap each other as they take their marriage vows, suddenly develop life-threatening diseases, and, again, have violent confrontations whenever there's a break in the action. Anything for a laugh, anything for a tear, and nothing much authentic.