Doesn't poke fun at anyone's beliefs.

At the very least the film can be congratulated for being anarchic enough to explore an attraction between the two oldest Brady kids, Marcia and Greg.

Working from a script by Jeff Nathanson, Jenkins, who got his filmmaking start in San Francisco and directed the best picture-winning “Moonlight” (2016), efficiently tells a simple story very well, although his style isn’t that much different from that of Jon Favreau, who directed the first computer-animated film.

At 88 minutes, Minions: The Rise of Gru struggles to find enough story to encompass its run time, ending up feeling substantially longer as a result.

Ultimately, it's a cold, caustic film that doesn't take a strong point of view but seems to offer up its numerous set pieces.

The Night We Never Met gets phony but it doesn't get boring, and that's not bad. [30 Apr 1993, p.C5]

Polish director Malgorzata Szumowska (“The Other Lamb”) directs for the big screen, with eye-pleasing mountain visuals (the Slovenian Alps subs for Mount Washington) and a well-executed adventure. But when the setting is in civilization, the drama grinds to a halt.

This isn't pleasant to watch. Neither is it amusing, intellectually engaging, whimsically fascinating, coldly satirical or painfully poignant, though at any given moment in this erratic film director Tom Tykwer might be trying for one of these conflicting tones.

Rising Sun doesn't work all that well as a thriller: it's far more successful in its old cop/young cop character study, and in its examination of cross-cultural tensions. [30 July 1993, p.C1]

It weds all the winning aspects of the Neeson formula to a ticking-clock plot, full of tense moments and gripping sequences.

Never rises above the level of its gimmick.

It works. "Lizzie" is wholesome, smart and sweet.

There have been many adultery movies over the years, but Leaving has some aspects that make it different and interesting.

G.B.F. has been unfairly slapped with an R rating, but the film is about as scandalous as a "Glee" episode. It's suitable for young teenage girls, who apparently are far more at ease with the times than the homophobic folks at the MPAA. Don't let their rating fool you: The movie may be thoroughly modern, yet it's old-fashioned, too.

This is a movie you might want to talk about afterward, so try to see it with other people.

The Corruptor' quickly turns into a good bad-cop drama of fascinating moral complexity.

The new movie lacks something, a special something. It's a quality that has characterized some of the best of the first 19 Bond movies: extravagant ludicrousness.

It’s a strength, not a weakness, of Jacquot’s that he makes movies about people. The ideas can take care of themselves.

A crackerjack combination of live action, special effects and recycled footage.

Breaking Upwards has its amusing and touching moments, but we're left wondering just what we're supposed to make of it all. In the end, the relationship at the film's core is less absorbing than the filmmakers imagine.

Shore should have just stuck to his strengths, which is producing music. As a documentary, though, Take Me to the River falls woefully short on offering a serious contribution to the history of African American-inspired music.

Judging by her funny, warm, drawn-from-life feature directing debut Wine Country, Amy Poehler is a gracious friend. She and screenwriters Emily Spivey and Liz Cackowski ensure that the many former “Saturday Night Live” performers and writers assembled for this Napa Valley-set Netflix comedy get moments to shine.

This is a funny novelty, no denying it.

Campy, overwrought and gleefully cannibalistic in the way it references and regurgitates horror flicks of yore, Scream 3 fulfills its modest ambitions by delivering a glib slasher spoof for the mall crowd.

The body-swap movie “It’s What’s Inside” dazzles up to the moment its plot gets going.

It's a tepid, quiet and uneventful film, directed almost in slow motion, with no narrative propulsion and with a succession of very similar scenes. The actors speak softly and pause a lot. And in the background is the steady hum of the soundtrack.

It's the typical elements that make Eraser no more than a solid bit of fluff: This is one of those movies where good guys don't miss, and bad guys can't shoot to save their lives.

A quirky little comedy about one day in the life of a New York playwright on the brink of either greatness or failure.