This disappointing comedy, which seems to move at a snail's pace, is almost saved by the gorgeous scenery and settings, crisply photographed. Locations include the Grand Hotel du Cap Ferrat, Beaulieu-sur-Mer, the harbor at Juan-les-Pins, and other lovely spots on the Cote d'Azur. [14 Dec 1988, p.E1]

It's funny, broad and never stops moving. It's made to please, and succeeds.

Heartfelt and passionate and brave in what it attempts to explore.

A sexy, mildly entertaining import.

Smile is an immensely well-crafted horror movie.

Two things to know about Borat Subsequent Moviefilm: It is appalling. And I haven’t laughed this hard at anything in months.

It's Eric Bana, a popular Australian stand-up comic, who justifies our interest with a dazzling performance of blunt humor, unpredictability and an edge of menace.

Such are the timeless joys of the books (and now the movie), this sparkling absurdity and knack for buckling swash under the worst of circumstances.

I'd be shocked if we see a better horror film in 2013.

In its sober, nonassertive way, Bopha! takes on the tone and weight of a Greek tragedy. [24 Sept 1993, p.C1]

Writer-director Lorene Scafaria based the movie on her own mother, and the clothes that Sarandon wears in the film actually belong to Scafaria’s mother. They fit Sarandon well, and so does the role.

The World's Fastest Indian might be the world's worst title for a charming, slice-of-life biopic.

White, who has done documentaries about Serena Williams, Beatles secretary Freda Kelly and the Netlfix series “The Keepers,” is an efficient storyteller who keeps things moving. There is a wealth of archival material, and clips from her 1980s television life. He neatly makes the case for Westheimer; openly talking about sex is now commonplace, but not when she started.

The film bolsters its case with plenty of facts, charts and expert testimony - evidence typical of this sort of advocacy documentary. But what makes the movie compelling is its focus on a handful of victims, who make the statistics painfully real.

Has plenty to satisfy fans and bring in new admirers.

This documentary is not just interesting, but timely.

It's an entertaining, depressing and ultimately hopeful movie about the times we live in.

Whether the role is small or large, the acting across the board is utterly convincing.

The film occupies that peculiar space that many of us would prefer to believe doesn’t exist, a movie that’s worthy but often inert, by turns enriching and enervating: a good boring movie.

Henry Fool is far and away writer-director Hal Hartley's best movie.

It is a very good performance in a very bad movie.

Prospect has a lived-in, working-class vibe at odds with so much of the gleaming, brave new world that is the science-fiction cliché.

The fun and human “Thunderbolts*” is an encouraging sign for the MCU’s future.

In some cases, the songs themselves shine most brightly.

The documentary Watermark is close to the cinematic equivalent of a coffee-table book. It relies heavily on visuals and offers minimal context. The project has a pro-environment feeling, which comes across implicitly, not through browbeating or preaching.

The film is charming throughout, literally from the beginning of time to the final goal.

For all the movie's richness and dazzle, for all that money dripping off the screen, Batman Returns is a gorgeous failure -- flashy, intermittently appealing but, in the end, a big mess. Batman Returns lacks a coherent story. It lacks a point of view and a focus. And so everything suffers, even the art direction. [19 June 1992, p.D1]

Monster House was designed as a family movie and a scary movie. It may scare children, but it won't terrify them. So it's no scarier than it should be.