I cared enough about these characters to follow "Exorcism" to tense and occasionally goofy places, even if the setup proved a bit stronger than the payoff.

Fleck and Boden point out the absurd humor inherent in mental illness without trivializing its causes or consequences. This is not an easy trick, and it's largely thanks to Galifianakis' amalgam of wackiness and awkward sorrow that it works.

The film feels superficial even for something set in the fashion world, and after chronicling Sassoon's unlikely ascent, it all starts to feel air-kissy and fluffy. There is a great story here, though, and Sassoon is undeniably inspirational.

An engaging if overlong documentary.

It's a lively, charming film, and if it gave us a little more of the band's history, it would be perfect. As it is, it's a perfect introduction to some great songs and fascinating characters.

Franco is rather astounding, looking and sounding plausibly like Ginsberg and talking about complex ideas in a genuinely relaxed tone.

The cinematic technique of director Tom Hooper tries to replicate the appeal which has drawn millions to stage performances, but comes up more than a little short. This version of Les Misérables simply doesn't sing.

The movie's as casual as its lead characters' approach to changing history; it's also lewdly and frequently laugh-out-loud hilarious -- especially if you wasted any of your youth watching a certain brand of '80s comedy schlock on HBO at 2 a.m.

A crisp, witty comedy on the Enoch Arden theme. [02 Apr 1999]

There's more to this movie. Like Pitt at his best, it's pretty, gritty, engrossing and fun.

Charming, Kiplingesque fable.

Their collective timing is so off that the dead space around their endless bits is like that more commonly experienced during a job interview gone wrong.

An extremely weird and frustrating viewing experience. I think it's that way because Eastwood, 78, can't be bothered to wrangle the vast material into a tighter shape.

The Summit does an amazing job of putting you on the mountain, making it one of the most terrifying horror films a climber or an acrophobe could ever see.

The result is an immersive experience that never forgets the basic facts of the story but attempts with a level head and open mind to understand how in the world it might happen.

While Stallone likely hopes to go out with a bang, this small, manipulative movie doesn't have any real punch to it.

Flawed though it may be, it's frequently an unaffected pleasure, in no small part because of Depp but also because of a raffish air that's a welcome respite from the heavy going of "The Matrix Reloaded," "The Hulk" and other behemoths.

Laverty gives the scenes between Jimmy and Father Sheridan a sharp edge, and Ward and Norton do the rest. Ryan shot on 35mm and makes the whole movie glow.

Israeli director Ari Forman, whose 2009 "Waltz with Bashir" earned a Best Foreign Film Oscar nomination, is a master at exploiting diverse animated styles, and draws a brave starring performance from a performer who, in her mid-40s, seems to be just hitting her stride.

There are flashes here of a more involving movie, but, as if living up to the cliches associated with her name, filmmaker Lee is content to sit quietly and let others talk.

Eating is probably the best date movie in years. It is replete with food for thought, and its ideas are sure to keep percolating for days. [17 May 1991, p.13]

Amusing but slow. [28 Aug 1992, p.AE17]

Indeed, Green Zone plays a little bit like a video game version of the Oscar-winning film (The Hurt Locker)-- which should tell you right off whether it's for you or not.

See it for the star. Penn makes a film that in many respects feels low scale and ordinary into something painfully human and real.

Its ambiguity allows us the chance to provide our own satirical edge to the film.

Not much in the way of captivating magic, but all the expected notes are duly played. Hope springs eternal for the next film in the series, though: Columbus is handing the reins over to Alfonso Cuaron, an actual movie director.

Well-intentioned but overblown environmental agitprop.

This white-water thriller by the director of The Hand That Rocked the Cradle isn't especially inventive, but the cinematography is first-rate and so is Streep's performance. [30 Sep 1994, p.14]