As a movie, Escape From Tomorrow is at best pretty good, but the way it was made makes it something unique, possibly memorable.

If you can get past a few swear words, the film's simplicity makes Glory Road a good starting point to get young kids to talk about racism.

Again like Chabrol, Fontaine has a way of making you laugh, on and off, for 90 minutes, before leaving you feeling a little queasy from too much truth.

The One and Only Ivan has within it a much more interesting film waiting to break out that really could have been for the whole family, but alas it is trapped within the cement walls of Disney’s cookie-cutter formula.

The film is sweet. Its observations of life in the aftermath of death ring true, especially for anyone who's traveled the contours of mourning. And although it doesn't rank among Crowe's greatest films, it's a better, tighter, more disarming piece of grief work than his baggy and zigzaggy "Elizabethtown."

The Indian in the Cupboard is such a sweet film, and so lacking in the bloodthirstiness and violence that parents dread in children's films, that its mere existence seems worthy of praise. Too bad, then, that it turned out so dull and lifeless.

An almost screwball comedy that turns serious.

Ultimately, Stone is a haunting film about what it feels like to be really and truly lost.

So, Dial of Destiny isn’t great, but it’s still a lot of fun — even compared to some previous “Indiana Jones” movies.

It’s such a pure delight to see Erivo and Grande just standing around when they finally duet on “For Good” that we will take that scene over a hundred where their characters dance, preen or ride a broom on their own.

Ricky Gervais, instead of resting on formula and on a familiar persona, uses his first opportunity as a big-screen actor-director to make an original comedy that expresses some real thinking and feeling.

In Elemental, we have a visually splendid and absolutely gorgeous rendering of a half-baked idea. For some of its running time, it can get by on looks. But ultimately, things like story and making sense start to matter, and that’s when the movie takes on water.

Keeps sinking into its own grimness.

Serious and absurd (mostly, it's a drama) but never finds a good rhythm. The movie flounders in a way that calls too much attention to itself -- and is hurt by jarring and unbelievable plot twists.

This is one well-made thriller, and for a director who wants to work in that genre, this is as strong a first feature as any filmmaker could hope for.

Ultimately, Chechik can't pull off the fractured-fairy-tale aspect of Benny and Joon. His film never explains mental illness, but romanticizes it, making it seem like a state of enchantment. It's ultimately irresponsible, and not very funny. [16 Apr 1993, p.C1]

Although intriguing to look at, Renaissance -- the latest animated film geared to adult audiences -- is undone by a plot that is ridiculously hard to follow and hackneyed.

Dunst is not the only person doing quality work in All Good Things, but she is the only one worth watching.

It's all about the dumb thrill, baby. Leave it alone, or leave your brain and pocket change at the gate, strap yourself in and just enjoy the ride.

The tribute to an aging parent is moving and gives this routine comedy an extra something.

The essential mistake that's made about Lewis is assuming his movies were intended mainly to be funny. I suspect they were intended mainly to be really, really weird.

It's a celebration of a shady landmark, but also a lament.

Flawless is a fictional tale, but something in director Michael Radford's conscientious, methodical presentation gives it the feeling of true history.

Hawke is half-assed throughout, showing passion only when he's screaming like a little girl when something scary happens. The visuals have a dingy, unfocused quality, especially in the muddy visual-effects-enhanced backdrops. And some of the plot turns are awful. The vampire "cure" is so stupid, you'll want to walk out of the theater, even if you normally like this kind of movie.

The subtitle of Hardy's novel was "A Pure Woman Faithfully Presented," and that's the approach taken here.

Even with its floating hookah smokers, this movie feels far more grounded than most shows that grapple with the divine.

Doueiri sprinkles Lila Says with moments of humor and violence -- a mix that keeps the film fresh and unpredictable.

Credit Freyne for ambition — he’s trying to make a zombie movie with a certain amount of discretion, and evoke sympathy for at least some of those who’ve perpetrated unspeakable actions. But he’s juggling too many themes here, and manages to lose us somewhere along the way.