Never mind the facts. True Story, slick and shaky, doesn't know where the truth lies.

Road Hard, partly funded through crowd-sourcing, is an enjoyable picture. It's sure to appeal to Man Show fans, though it withers when compared to another recent film about a has-been comic directed by its star, Chris Rock's remarkable Top Five.

Although it's set on the same frozen continent, Happy Feet Two is worlds away from its predecessor.

Like its own hero - and so many recent films - The Shadow suffers from a split personality. At some moments, this can have a poetic impact. More often, though, it seems the result of sloppiness. [01 Jul 1994, p.05]

After toiling for the likes of Ridley Scott, Ron Howard, and Peter Weir all these years, Crowe takes command of his own camera crews and castmates, mounting an ambitious and sentimental period drama.

Director Steven Quale is economical: He ditches plot altogether, delivering instead nothing but set pieces. He does come up with a few genuinely creepy moments of Hitchcockian edge-of-your-seat suspense and a few very inventive deaths.

Kutcher and Portman have terrific screen physics, using their 12-inch height difference to considerable slapstick effect.

Compelling, kinetic, fast and furious.

Director John Crowley trots his crew around London, working up a suitable amount of suspense. And paranoia.

At its best, Shange's work is a lyric journey through the storm to the rainbow. At its worst, Perry's movie is a relentless dance between the victimizer and his victim. Shange's poetic flow gets choked by Perry's stilted prose.

At times, Spare Parts sails perilously close to the saccharine. But the film is a fine example of a message movie that does justice both to its important subject matter and to its characters' inner lives.

While it's always gratifying to see girls in the kind of piece that has long been male- dominated, Now and Then merely makes ground that better films have explored more memorably seem like a rut. [20 Oct 1995, p.03]

Hit & Run is a pleasant enough diversion - but more of the PPV persuasion.

It lacks the resonances of Gilbert's book.

Offers a primal vision of the primate order turned topsy-turvy. It is provocative. It is frightening. It is a mess.

Shaft is still enormously involving. It's popcorn, but very fresh.

Although it would be understatement to call their characters unsympathetic, Van Der Beek and Sossamon play their parts with such doomed passion that they have some affecting moments.

Flipping his cigarette lighter and snapping deadpan retorts, Reeves plays the demon-hunting detective with Keanu-esque panache.

Little White Lies wants to capture something momentous and meaningful in these people's lives. But ultimately it's hard to care.

Alas, not even Eckhart and Breslin can get Zeta-Jones to simmer.

Featuring an awe-inspiring, stellar performance by Parks and Recreation's (and Wilmington's) Aubrey Plaza as Beth, the film opens with the high school girl's short-lived death.

Though there are chases galore and stampeding dinos aplenty, Dawn of the Dinosaurs is a nicely rendered travelogue without storytelling. There is little to bring an audience along for the ride.

Dedication works anyway, thanks to Theroux's jumping visuals and Crudup's jumpy performance.

A feeling man's buddy story that's user-friendly to men and women alike.

A goofy sports inspirational.

Hoffman's turn as the drag queen has its endearing and comically catty moments, but Flawless' utter phoniness subsumes all efforts at honest acting.

Duplex's tenant-from-hell scenario is as predictable as it is tedious -- a tinny, unsatisfying throwaway farce.

It says in the beginning of the film that Two for the Money is "inspired by a true story." Problem is, it's just not that inspired.