Stewart. His role is so juicy and he is so good that Lillard and Gugino just can’t keep up. Stewart fans should see the film just to see him cut loose in an arena outside the “Star Trek” and “X-Men” franchises. He is, in fact, unmatched.

We’ve gotten too used to action as mere spectacle, explosions on a video screen. Plane takes time — not a lot of time, but just enough — to make this a story about people.

Unwittingly, Lynch/Oz ends up demonstrating the flimsiness of comparison as a tool of film criticism.

A giddy mockumentary.

Original, winning entertainment, and well executed. No pun intended.

Frehling is excellent as a rigid do-gooder who thinks he understands everything and then comes up against crimes that shake his sense of the universe. His fresh fierceness is nicely balanced by Voss, who says little but radiates wisdom.

Delightfully comic - and the funniest moments are rich in meaning - A Man of No Importance is laced with memorable scenes.

There are six standard types of violence in film these days: Tarantino, comic book, Scorsese, martial arts, horror and stupid. For stupid, look no further than Centurion.

For the most part, good food and good cheer are the order of the day here, and the chatty, old-school Ziggy serves as a reliable — and touching — tour guide.

If you ever liked Madonna, this concert film will remind why you weren’t wrong. Madame X is somewhere between a success and a triumph.

Good story, great characters, a setting plucked from history - and a multiracial, multigenerational ensemble cast stacked with fabulous actresses. But the thing that makes The Help such a rousing crowd-pleaser is its generous helping of baked goods.

Both a memoir and a history lesson, the film looks back on their late father - a crusading civil rights lawyer who later defended a host of unsavory characters - with a combination of love, admiration and bafflement for the man he was and the career he forged.

As the camera follows four campers in a Portland, Ore., rock school for girls, the result is less a journey than a collage of random thoughts, circumstances and events. There's plenty of telling, but not enough showing.

It’s colorful and imaginative, but other than Lu, the characters don’t have much depth. Emotional, that is, not oceanographic.

Painfully sincere but tired.

There are “gotcha” jolts that definitely got me, but for each of those, there must be a half-dozen scares telegraphed in very large letters. I think Annabelle: Creation is suffering from sequelitis.

A similar blend of comedy and a grumbling skepticism about the essential goodness of human beings makes Ira & Abby feel, at times, like one of those great stage comedies of yesteryear transferred to the screen.

People take comedy for granted, but to step back and think about Stuck on You is to be impressed by the invention and sheer exuberance of the picture, which isn't great but sure is enjoyable.

The human connection the two characters make in this film would be understandable to anyone in any century, past or future. For that reason, there’s a very good chance here that Hall, Penn and Johnson have made more than a good movie with “Daddio.” They may have made a classic.

Forestier's performance is a tour de force of comic acting, maintaining astonishing alertness and energy from shot to shot and scene to scene.

By showing so many examples of his art, the film attests to Giger’s real gift for startling images. But it’s hard not to see, in addition, elements of repetitive adolescent provocation.

A wildly funny sex farce that smartly combines big-time silliness with sophisticated wit.

At its best, the movie is a collection of entertaining memories from a group of gutsy women.

A triumph for Judd and the director.

While trying to establish whether a conspiracy took place, the film attempts to solve the enigma that was Lee Harvey Oswald.

Kazan's writing in Dream Lover is spare and evocative, but here in his first film he also makes a case for himself as a talented director. It's hard ever to feel safe during Dream Love'; even during stretches when nothing bad happens you just know something will. Individual moments may be clear, yet everything in the film has an uneasy ambiguity hanging over it. Characters seem to connect, but they don't quite. [5 May 1994, p.E4]

Ellis’ story could have used a little fleshing out, no pun intended. Instead, a terrific cast is left floundering in the dark, searching for the film’s human dimension. Cursed, indeed.

It's really just old- fashioned melodrama, dressed up with lustrous cinematography and a few nods to history.