You'll suspect, and even hope, that what's on screen is a hoax, but it seems to be at the very least one version of the truth.

It's lovely, truly, but so heavy-handed and slipshod that it's probably best enjoyed with the sound off -- an option they're not likely to offer at the movie theater.

Unfortunately, the film's charm ends with the plot gimmick.

When the fly trapped in the spider's web is as clueless and selfish as the sap played by Mark Webber in 13 Sins, it's hard to muster much sympathy.

Fonda gets some of the movie's best moments as the sexually frank, silicone-enhanced mom who got rich off a best-selling memoir that exposed her children's intimate habits.

May be fairly funny, sort of sweet and slightly muddled, but one thing about it is utterly certain: It loves, loves, loves some bad cabaret.

Thriller is hardly the word for this tedious exercise in clue-hiding.

The bright spot, again, is Grant.

Unfortunately, the dialogue undermines the movie's promise.

A breezy, dumb and lightweight film that has the benefit of not trying terribly hard to be about much of anything and succeeding (bravo?).

For all the beauty it struggles to bring forth, Snow Falling on Cedars is painfully prosaic.

Surprise! Crystal has given himself most of the best lines, though he also allows a Doberman to have its way with him.

Actually an entertaining action-adventure that not only stands on its own, but surpasses the more limited rewards offered by "The Maze Runner."

The title notwithstanding, "Frontier" is unlikely to be the last in this series. Slow as it is, and disappointing as some of the special effects are, "Frontier" still has some effective humor. Things go just well enough to inspire hope that the level of "IV" can be reached again. [9 June 1989, p.F09]

Run! Run for your lives! Get out of this theater now! Two hours is a terrible thing to waste!

An unfunny, undramatic comedy-drama that asks us to care about lying idiots making implausible choices.

Although there is some gimmickry, this is one of the most straightforward versions of the Tempest ever filmed, making it edifying as well as -- when Taymor hits a groove -- dazzling.

Transplanting so much of the original story to a 21st-century setting only amplifies how badly the story has aged.

Dad is something of a sitcom soap opera in which tragic and desperate things happen, and the participants can always snap out a one-liner for the occasion.[28 Oct 1989, p.C08]

For a Hollywood studio movie, you see, The Mexican is remarkably strange and eccentric with a plot like a wrinkled bed sheet and a black comic sensibility that consistently swerves away from the cliches that have been established in this Age of Tarantino.

The minute the movie flashes forward seven years and Castro takes over as Affleck's grade-school-age daughter: The whole enterprise suddenly becomes rather charming.

It's a safe bet that those who like the music will like the film, and those who don't would find it uncomfortable. But as a combination of historical homage, docudrama and concert film, it is well acted, well filmed and well mixed. [3 Dec 1987, p.E07]

A stultifying bore.

It's not that The Beach is a stinker, exactly. It's that nothing in it -- and that includes the gifted DiCaprio -- ever feels other than perfunctory.

A superb production of a so-so story. [10 Feb 1992, p.C05]

Wiseman's PG-13 remake isn't as funny, or vivid, or splatter-tastic. It contains no mutants, inflating heads, trips to Mars, or freaky little psychic dudes named "Kuato" emerging from people's stomachs. But it does a decent job setting up an unsubtle dystopia.

Miscast, clumsily staged and ideologically wobbly.

It's Zahn who truly conveys what Marshall and Barrymore are going for -- laughing through your tears.