There are two questions to ask about a film such as Chloe: Is it erotic? Yes. Is it good? Yes, until it devolves into third-act pretentiousness and preposterousness.

A comedy as likable as its stars.

A testosterone-fueled road movie that displays the same Apatow-ian obsessions, and raunch, as "Pineapple Express," "Superbad," and "The 40-Year-Old Virgin."

Happily, Perry's strength as a filmmaker is that he genuinely loves his actors, and they love him back. What his movies lack in exposition they make up for in performances.

For all its flaws, offers an enjoyable look at the machinations of moviedom and fame, and a look into a future where what is real and what isn't becomes scarily blurred.

The film is cannily made.

I watched this movie thinking that it used the idea of taking a chance on cards as a metaphor for taking a chance on love. I was dead wrong.

Tobey Maguire, terribly miscast and squeaky (that voice - it belongs to a kid!).

Ricci makes all this far more palatable than it should be. She is surely helped by the dismal level shared by most allegedly more adult afterlife fantasies. The kids will enjoy the high-spirited antics, but Casper ultimately is another reason to wish Hollywood would declare a moratorium on ghost writing. [26 May 1995, p.03]

This film that imagines the end of the world not as a whimper but as an implosion is a preposterously diverting, instantly forgettable, big-screen video game.

Yet another Hollywood serving of everyman pluck, sports division.

Filled with bleak, beautiful Hopperesque tableaus and strange characters whose lives intersect.

Though it's rife with unexpected scene-stealers, the movie belongs to Lemmon and Matthau, that perfect complement of treacle and acid. [02 July 1997, p.D01]

Legacy is a two-hour light show with a lot of flash, a little style, and not one byte of narrative originality.

Burns' movie shows a Woody.esque affection for a certain slice of New York and its denizens (with the angst and neuroses quieted down a notch or two).

There's no doubt that the formula for this kind of action film is showing its age.

Is Final Fantasy decent sci-fi? Yes, more than decent.

The best thing about The Thing, the third - and the least interesting - big-screen adaptation of the John W. Campbell Jr. short story "Who Goes There?", is its closing credits.

Surely there is a good comedy to be framed around that strange limbo of powerless celebrity we reserve for our ex-presidents. My Fellow Americans merely proves that it has yet to be made. [20 Dec 1996, p.45]

Richie Rich has some fun with Richie's pampered life, and Culkin seems at ease with the role of a kid who has been isolated from his peers by money and celebrity - perhaps because it surely touches on feelings in his own young life. [21 Dec 1994, p.E01]

In some ways, American Reunion is the Charlize Theron indie "Young Adult" all over again: In both, a small-town high school reunion is the setting for a lot of nostalgia and narcissism and nasty behavior.

Eva Longoria brings a crisp swagger and fluent Spanish to her role.

The film is an omnibus ride through Brighton Beach, Central Park, the West Village, and Tribeca.

For sheer audacity and adrenaline-fueled carnage, Shoot 'Em Up hits its target pretty much dead on.

Wahlberg does what Wahlberg does, bringing muscular conviction to his troubled, tough-guy role. The city may be broken, but the movie star's formula is working fine.

Too long (and it sure ain't taut), but it brims with passion.

So many characters to keep track of, so little time!

This furry family comedy about a boy and his border terrier is irresistible, if not exactly in the league of "Babe."