A wild ride through nonstop visual effects yet a warm wallow in the cinema of the dumbed-down.

Offers enough glossy good cheer to appeal to everyone.

Barbara Walters Tell Me Everything begins as a fawning “greatest hits” collection. Then, in the second half, it deepens.

The film is mentally graphic, not sexually graphic.

Antlers is a very effective, chilling film. It doesn’t have the franchise flash of Halloween Kills or the bizarro artifice of Lamb, but there’s authenticity to this movie that’s so effective and, at times, emotionally overwhelming

A must-see for Mamet fans.

It's an audacious little comedy with bursts of hilarity and a certain giddy energy.

An amusing trifle. [21 Dec 1988, Daily Datebook, p.E1]

An often tender and revealing documentary.

The music is hit-and-miss, and the movie sinks into as many cliches as it avoids. But the characters are appealing, and the storytelling is just unconventional enough to keep an audience guessing.

This is kid stuff, but such well acted, well made stuff that inside 15 minutes you're sitting there like a teenager yourself wondering which girl Keith will wind up with. [27 Feb 1987]

The soundtrack, full of jazz standards, is an enjoyable feature, though in the context of the movie, audiences will mostly feel anxiety hearing them. The amount of work required to sound breezy and effortless is daunting.

A mostly amusing, appealing family comedy about going from pretender to contender, in life as well as pingpong.

Port Authority is never in a hurry. It often feels like it’s being lived as you watch. That won’t satisfy viewers who need a tight narrative with recognizable beats, but if you’re looking for an immersive love story that takes you places you might not know, that challenges your conception of what romance looks and feels like, Port Authority is a great place to stop.

The videos speak for themselves — and provide a worthwhile time capsule of a turbulent era.

After a slow start, it moves.

If you've ever wondered what it would be like to be there - to actually be there, man - this movie gets it.

What happens to the twins won’t be revealed here (those with overriding curiosity can find the Wikipedia page about them), but Smoczynska, Wright and Lawrance find the humanity and empathy in their story, if not the complex psychological reasons behind their unique lives.

Nostalgia, as mentioned, is a factor. But the key to its success is its focus on family and hope.

Sharp and irresistible, and there's no other movie like it.

A crime drama in a special class.

The antics that prevail along the way, and the character changes the pair undergo as L.A. grows nearer, are memorable.

Riveting.

A superior adventure film with a poetic heart.

The big screen -- with that 3-D depth charge -- captures the strange magic of the "big top" Cirque in visual gulps.

Loses steam only when it strays from the sisters and attempts to depict their parents' loveless marriage.

Moretti's performance is low-key but detailed. He makes the psychiatrist a fascinating guy, rather austere and restrained, a Northern Italian, not an expressive Neapolitan.

Even if a quarter of what Boreman claimed was true, she had a lot more coming to her than a sympathetic hearing and much prettier actress playing her onscreen. She practically deserved an apology from the male sex, and that, in a way, is what this movie is.