Sgt. Bilko, from the late, great Phil Silvers sitcom about an incorrigible con artist scamming the daylights out of the U.S. Army, has been turned into a not-very-funny film vehicle, just as The Flintstones was transformed into a not-very-funny film vehicle, and The Beverly Hillbillies, and Dragnet before them. [29 Mar 1996, p.05]

A mild and merry romp about family, friends and sexual identity.

Paradoxically fast-talking and laid back, Long's Bartleby appears to be the illegitimate child of Groucho Marx and Ferris Bueller, one whose schemes are far more impressive than his deeds.

A winner.

When it works, which is often, Kitano's movie is an anthropology of the distinctions between Japanese yakuza and American gangsters.

Follows its heroines' rise and wising-up with a giddy, "Hard Day's Night" enthusiasm.

The film's intimations of bisexual romance have a certain innate drama that no amount of bad acting or cornball rugby matches can completely erase.

Unpretentious fun.

As scripted by Cathy Rabin and directed by Santosh Sivan, Before the Rains is never less than compelling, but never more than adequately realized.

As a thriller, In the Cut, with its red herring characters and plot twists, turns dopey and predictable. As a portrait of a single woman, burned by love and wary of what's in store, Campion's movie has its trenchant, telling passages.

The overall effect is one of a sumptuously laid table where the main course is overcooked.

In its long, punishing final act, Red 2 goes beyond its mandate as a lark to pose as a true action caper.

Apocalyptically awful romantic comedy.

The Night at the Museum tent pole has played fast and loose with history, and with our knowledge, or lack of knowledge, of the past. But I'm pretty sure a capuchin monkey never urinated on teensy-weensy figures of a cowboy and a Roman emperor as they ran for their lives from a lava flow in ancient Pompeii. That happens in Secret of the Tomb, and it seems like a fitting way to retire the show.

The result is Woody Allen lite, with some deft observations about how the social media designed to bring singles together are actually coming between them.

There are, to be sure, some impressive special effects here, and whoever Warner Bros. hires to make the new Superman movie should take notes.

Fresh, funny and perceptive.

As a horror movie, Jennifer's Body doesn't fully deliver. But as a comic allegory of what it's like to be an adolescent girl who comes into sexual and social power that she doesn't know what the heck to do with, it is a minor classic.

A raunchy comedy that's funnier to think about than to watch.

All in all, a resonant theme, poorly played.

Although it is based on a true story, the dramatization doesn't make much sense psychologically.

Dull plod.

It falls short of its tie-dye target.

Crudely entertaining comedy.

Just as a fistful of drooping stalks does not a bouquet make, director Charles Herman-Wurmfeld's random collection of think-pink gags, canine couture and smart/dumb blonde jokes does not a comedy make.

Fails as drama but succeeds as a "When bad things happen to good firemen" procedural. It's sensitivity training for civilians.

Burlesque is a preposterous and intermittently entertaining lesson in how to make a movie musical with a little brains and a lot of talent.

If illuminating dawns and dusks had basked Mia Wasikowska and Henry Hopper in a rosy glow, the mopey cuteness of Restless would have been too much to bear.