Takes its title from an early Artforum article that described the sleek aesthetic of the then-new Southern California art.

It’s all so heavy-handed that it’s hard to stay engaged with the movie.

The movie drags.

Klapisch's masterstroke was to place at the center of a movie a man, forced by circumstances, to stop and simply observe.

Superman is a mess, but it’s a colorful one. It’s either a terrible superhero movie or an OK parody, take your pick.

Ponderous, repetitive and lacking a single rousing action sequence.

What audiences want when they go to a suspense thriller.

The film is far from perfect but has enough going on to compensate for its excessive length and some sentimentality.

Some long patches in this show are surprisingly boring and unfunny. Maybe part of the problem is that the rest of the world has caught up with Waters -- nowadays everyone's a provocateur. In-your-face gay-themed material is no longer such a novelty; there are simply fewer boundaries left to transgress.

The documentary takes Tower through his much publicized recent stint as the chef at New York’s Tavern on the Green, a rather hopeless assignment for a perfectionist.

The fortunate thing about for Inequality for All is that, for all its good information and useful insight, it also has an appealing person at its center: Robert Reich, the economics expert and Berkeley professor who was also the labor secretary under Bill Clinton.

This is a filmmaker who cares less about horror cinema as a theme park ride, and more about mood.

With his caustic humor, director de la Iglesia is being billed as "the next Almodovar."

The film is fine in depicting Ellis' times, but it's mostly how he came to realize that he had a serious problem and turned his life around to become a drug-abuse counselor. He died in 2008 at age 63.

An enjoyable farce, with lots of laughs and a strong cast. At 80 minutes long, it's that rare case of a short film that should have been longer.

Taking a stand would have made the film stronger, and might even have been helpful to young Pug and his peers.

Strouse’s film is about the changes that occur in all relationships and about letting go when it’s time. It will probably not change your worldview about any people, places or things, but it’s a pleasant way to spend a couple hours.

The result, although a great idea, doesn't translate into a great movie.

A wonderful, cockeyed sex comedy.

This is pure entertainment but smart entertainment, plotted and executed with invention and humor and acted by a winning cast radiating good-movie energy.

The photography is strong, the performances sympathetic and the sex plentiful.

At first, the technique seems gimmicky, but finally it's as compelling a perspective as any to understand how these men passed through agony to some sort of peace.

Pleasing, it is. Good, solid stuff. But one wonders how much better the film would have been had von Donnersmarck honestly explored the life of his inspiration, artist Gerhard Richter, rather than the fictional “Kurt Barnert.”

One great monster movie. [11 June 1993, Daily Notebook, p.C1]

Neighbors is funny for all 96 of its minutes, not counting the credits, and it contains the single best sight gag of the year so far. (We're talking laugh-out-loud funny and then laugh again later, just thinking about it.)

Beautifully filmed.

Jude is knockout Hardy, filled with stormy visual poetry and accompanied by a gorgeous yet simple score.

Noah is no silly action blockbuster with a Biblical pretext. Rather, it's the product of writer-director Darren Aronofsky's vigorous engagement with the Biblical story and what it might mean in our time.