The filmmakers have wisely turned it into a comedy, and a wickedly entertaining one at that.

Even if it's too self-conscious, "Going All the Way," set in 1950s Indianapolis, nevertheless has a mix of the sweet and the forlorn that somehow works.

Gainsbourg's character seems too sweet to be true until she tangles with her onscreen director over nudity. The fire Gainsbourg brings to the scene suggests she's had similar battles.

If this is an example of Australian live-and-let- live, it is very likable.

An unusually cheerful depiction of prostitution. You've never seen such wholesome hookers.

So good it's scary.

Osmosis is really an occasion for the brothers to take their culture- debasing scatology to a PG crowd.

The Laundromat finds director Steven Soderbergh in a playful mood, but this time he’s a little too playful, and the result is a scattered and seemingly trivial movie about a serious subject — a lighthearted, jolly expose of international money laundering.

The Zookeeper’s Wife achieves its grandeur, not through the depiction of grand movements, but through its attentiveness to the shifts and flickers of the soul.

Ezra is an opportunity for Bobby Cannavale to show his abilities as a dramatic actor, but his performance is hampered by one thing: He plays an idiot.

It may not be as perfectly clever or uproarious as it was in Tap’s heyday, but we all get old and neither need nor want humor as loud as we used to.

The important thing is that Dreamland accomplishes its main intention, which is to make us invest in this strange love story.

This movie is not recommended for people who need to know what's going on. The Woman in the Fifth, an English and French language film from the Polish director Pawel Pawlikowski, is watchable and enjoyable, but it's fairly impenetrable, and it gets more peculiar as it goes along.

A thoroughly satisfying, completely entertaining film that's also, rather surprisingly, an emotionally full experience.

This movie reverie has an almost laughable '80s tone - a yuppified style and even language - that practically buries Costner. [21 Apr 1989, Daily Datebook, p.E1]

A Woman, a Gun and a Noodle Shop has to be the loopiest, most unexpected remake ever.

It’s a deliriously demented LGBTQ+ riff on “The Parent Trap” about accepting love in all forms, repairing broken families and finding your true self, but it accomplishes all of that in the raunchiest way possible.

There are some nice moments and beautiful scenery, but the film is often slow and the dialogue is overwrought.

Bram Stoker's Dracula is a lovingly made, gorgeously realized, meticulously crafted failure. It has big names, a big budget, big sets, a big, thundering score and even big hair. But it doesn't do it. It doesn't excite or fascinate but just lies there on the screen. [13 Nov 1992, p. C1]

The performances are the best part of this uneven film.

A vital, sexy and touching movie that goes to the heart of what human caring is all about.

Often hilarious mockumentary.

Starts off with a burst of energy but becomes tedious midway through.

Some of the elements in the film are inexplicable and some are undeveloped, but there are a handful of nicely crafted set pieces.

A crappy 3-D conversion job mars this otherwise competent, energetic and cheerfully hambone Marvel adaptation from director Kenneth Branagh.

Ben Stiller seems the perfect actor to play Hollywood writer- turned-junkie Jerry Stahl in Permanent Midnight. He's got that bitter humor, the intense eyes betraying an inner life of pain. And he comes off as pathetic. The trouble is that it's hard to care -- even though the film is well-acted, artfully shot and at times haunting in its bleakness.

Lacks, a story that makes it feel personal.

Like the best noirs, The Wedding Guest is an efficient crime thriller that clocks in at around 90 minutes. It’s a B movie with style — the stuff that dreams are made of.