All Good Things is a "true crime" drama with speculative scenarios and a kind of deliberately murky aura. It's a strange, thrilling tale begrimed by bad memories, by bad deeds.

If you can stomach the hard-R rating, this is a smart, sexy and funny sprint.

Despite problems of tone and tempo, Steins is appealingly cast.

The filmmakers' narrative device of framing Quinn's tale as a feature-length flashback doesn't pay off - we get a goody-two-shoes moral lesson at the end, and a look at movie studio aging makeup gone wild.

While the characters are B-movie thin, the dialogue standard-issue, and the CG and matte effects only passable at best, it's undeniable fun to behold the likes of serious thespians Hawke and Dafoe slumming around in this cheeseball stuff.

A big fat geek kiss to the movies of Steven Spielberg and his fanboys, Paul is a mild, meandering comedy.

Maybe it's time for a moratorium on Ike-era coming-of-age pictures. Going All the Way, a faithful but belabored adaptation of Dan Wakefield's autobiographical 1970 novel, certainly suggests that it is. [10 Oct 1997, p.04]

Either Campion is the most inspirational director of performers or Winslet the most carnal.

Should you take the kids? Boys 8 to 11 are the target audience for this gross-out film. A better question might be, should they take the parents?

A creepy, oozy, dopey remake of the stylish 1998 Japanese thriller, "Ringu."

A romantic comedy for anyone in love with the movies, and anyone, for that matter, who's in love.

For all its grand promises, Ip Man 3 teeters uneasily among B-movie clichés.

Spoofing James Bond in the '90s may lack an original comic bite, but making James Bond in the '90s is positively toothless.

It's a minor work in the Yimou canon, but a major visual treat.

If all you ask of a movie is that it have scenic stars and some scenery (here the Sierras of California substitute for the Rockies of Wyoming), then Flicka is adequate. Me, I expected some conflict, some resolution, and a horse that took me on a wild ride. This one really never gets out of the gate.

With the filmmaking techniques pared to the bone, it is left to the actors to bring the scenes alive - and they do, often brilliantly.

Rodriguez manages to work in some nicely cornball messages (family togetherness and forgiveness is good, Stallone doing comedy is bad) and theatergoers get to walk out with their very own way-cool cardboard anaglyphic eyeglasses.

It's the classic odd-couple buddy movie setup, only it'll pull at your heartstrings, whether you want it too or not. And you won't want it to, because it's sap.

Hemsworth looks a good deal more like NFL receiver Jeremy Shockey than he does the immortal Avenger.

The cast is uniformly good. In the end, though, as Stiller's Stahl does the rounds of the talk shows, plugging his book and his newfound sobriety, Permanent Midnight fails to deliver a true story of redemption, of someone who has come through the dark side and conquered his demons. The guy is still feeling sorry for himself, and the residue of narcissism - the lifeblood of the entertainment industry - is caked all over the place. [18 Sep 1998, p.03]

Fascinating and flawed spy thriller.

The result is a movie about the many forms of social and sexual abuse that does not make the abusee a victim but victor.

A bleak, despairing testament to the cruelty of war, and how it mangles and defaces everyone it touches.

A smart and creepy fable in which the myth of the vagina dentata - yes, a toothed sex organ - is transplanted to teen suburbia.

In Don McKellar's remake of "Seducing Doctor Lewis", a 2003 French-Canadian comedy, the charm feels force-fed.

The kids will relish flying Air Jordan, but it's Bugs who makes the trip worth it. [15 Nov 1996, p.3]

Byrne and Kroll are the reasons to see Adult Beginners. The story itself feels truncated, like there are bits missing that we should see, ambling along.

It's wondrously unreal. [25 May 1994, p.F02]