The film doesn't hold together in any compelling way.

The movie has workmanlike, uninspired direction from Thor Freudenthal (Hotel for Dogs), who gets an especially lovely performance from Capron.

The movie pulls off the worst kind of con: the one that disappoints.

Offers two hours of luxury and loveliness, music and art, and a bit of sexually charged madness, too.

A larky throwback to the breakneck screwballs of Frank Capra and Preston Sturges. Problem is, it isn't breakneck enough.

The movie name-drops the cool stuff, the rebels of word and song, but the essence of the story and the cardboard characters who inhabit it are as mundane as can be.

Doesn't have the dramatic heft to warrant all its angst and anguish.

Thoughtfulness and artistry ...raise this small, quiet picture to moments of pure epiphany.

Starts having the same effect as one too many tequilas: the Hong Kong-style stunts, the goofy wisecracks, the foxy presence of Eva Mendes -- all of it becomes blurry and numbing.

Non-Stop gets increasingly far-fetched as the jet makes its way across the Atlantic. Certainly, there are more red herrings on the plane than there are in the sea below. And Neeson has to stare down every last one of them.

Apted's movie puts flesh - and a considerable amount of blood - on problems that usually get lost in the winds of empty political rhetoric. [27 Sept 1996, p.03]

Nunez's dialogue, and the paces he puts this threesome through, just don't ring true. Coastlines is the stuff of pulp, seriously at odds with what the writer-director has always done best. That is, show the inner workings of people, their needs, their fears, their small dreams.

Eloquent, moving, and deeply troubling, Little Accidents is a true contemporary tragedy.

Storks feels way too much like a belabored and mediocre SNL sketch. Each character has some neurotic tic or crazy fixation, which they expound upon in monologues that feel like material for a stand-up act or a sitcom.

Mostly, Doremus' movie rings true, as some truly jerky behavior ensues.

Joltingly graphic and atmospheric (Nixey and his crew at least know how to set up a few good shocks), Don't Be Afraid of the Dark fails to involve us in any meaningful way with its characters.

In addition to Carell and Fey, Date Night boasts a deft supporting cast...Best of all are a very droll James Franco and Mila Kunis as the downtown hipsters for whom the Fosters are mistaken.

It falls short of the mark, even as it hits every one of the genre's conventions.

Yun-Fat is magnetic and majestic, and the story, no matter that it is not entirely true, continues to fascinate.

Looks as if was cobbled together from stuff hanging around the cutting room at MTV.

Despite an exceptional performance by Paltrow, whose Plath is a layer cake of infinite intelligence and bottomless need, Jeffs' film is an icy affair lacking the fever of Plath's and Hughes' poems.

Ford plays Linus as a consummate actor so good at feigning emotions that he fools even himself. It is a nuanced performance, astonishing in an otherwise innocuous film. Though Ormond's Sabrina doesn't exactly generate the heat to melt Ford's glacial CEO, his transformation from polar ice cap to volcano is heartstopping. Who'da thunk we were watching Cinderfella? [15 Dec 1995, p.03]

Intelligent, scary (scorpions! lots of scorpions!) and full of the possibilities of scientific fact taken to far-reaching (but credible) extremes, The Arrival delivers more bang for the buck than its high-profile multiplex-mates. [31 May 1996, p.3]

A lot of energy and effort has gone into this endeavor, and I can't say some of it's not fun. But more of it, alas, is just tedious. Say uncle already.

At the film's inconclusive conclusion, the filmmakers strand Erica and Sean in the moral twilight.

All nutty, all nonsensical, all aboard.

It is earsplitting, crowd-pleasing, and, no doubt, 'bot-pleasing, too. If you told me I would get emotionally and viscerally involved in two machines punching the hard drives out of each other, I would tell you you were crazy. I would be wrong.

It's all very Hitchcockian, at least for a while. And clever and exciting, too, even if the convergences begin to strain credulity, and, when you think about it, defy logic, too.