Eisner has almost nothing on his mind, no political rumblings, nothing behind the urge to upgrade vintage trash.

A surprisingly handsome film whose visual appeal often shores up a predictable plot. [14 Jan 1994, p.C3]

It's the speed of love, not the speed of light, that occupies Adam, a small, sweet movie about one man's widening cosmos.

The movie's one flaw is this: The whole movie hangs on the gradual unraveling of the central mystery and is made with the expectation that the audience is fascinated and hanging on every tidbit.

If you're a fashion insider, you may find the entire film fascinating. If you're not, you may find it way too long.

As a thriller, Cabin Fever falls short, filled with characters so obnoxiously stupid that just watching their skin slowly melt off doesn't seem like enough punishment.

In I'll Sleep When I'm Dead,' master of stylish criminality Mike Hodges presents a nighttime London of sharp suits, distorted jazz notes and shiny luxury sedans cruising dirty streets.

Watching the film is like being on a jury in which you know the defendant is probably guilty, but alas, there's not enough evidence to convict.

Pike’s own commitment is wonderful to witness. Radioactive is a good movie, a bit more imaginative than most (at several points, the movie takes a quick leap into the future to show the various ways radioactivity has been used, for good and for ill), but Pike makes it something to see, simply by giving it everything.

This is a profound saga that makes for a great American movie.

The result is a movie that, like the book, is episodic and has dips in energy but has more than its share of glory and illumination.

The Details has a light tone, but it's anything but light in purpose. It's committed and passionate, one of the most perceptive and morally persuasive movies of 2012.

Either “Nightbitch” shouldn’t have been made or its premise should have been transformed and built upon.

Part conscious and part unconscious, Watchmen tells us of a world without hope and then makes us wonder if we're already living in it.

Almost overcomes weak source material to become a decent film.

The film is finally a letdown.

It’s definitely not for everybody, but even a non-fan stumbling into the theater accidentally will find whole sections here to enjoy.

If John Waters had directed Mermaids, the new Cher comedy, it might have more of the spunk and the trash that it needs. In the hands of middlebrow director Richard Benjamin, it starts off promisingly but finally sinks into schmaltz and melodrama. [14 Dec 1990, p.E1]

Peralta uses the creative liberties of fiction to focus on the one thing he couldn't convey in his historical record -- the sense of tribalism among skateboarders, who live by a code that most law-abiding citizens misunderstand for hooliganism.

The writing is funny during individual moments, but the cumulative result is a bit depressing, with a surprising amount of negativity.

The emotional core of the movie, the relationship between Nicky and Jess, lacks impact, mostly because you can’t believe a word that they say, but also because Smith is not a strong leading man.

A filmic hug for Brooklyn.

For at least a half hour, Coco Chanel & Igor Stravinsky is a brilliant and exciting film and seems almost sure to be one of the best of 2010. Then it becomes simply good. Then it becomes merely interesting. And then, about 15 minutes before the finish, it becomes dull and interminable.

It's a pleasant and well-intentioned end of summer diversion that doesn't possess the imagination-stoking qualities of a premier children's movie.

It exudes goodwill and high spirits, occasionally makes you feel really good, and yet here and there and in some definite ways, it kinda sorta stinks.

When Paper Towns works, it’s fun.

A good, strong movie, but never threatens to be great. One salivates at the adventurous directions the film could have explored.

Alan Bates and Charlotte Rampling are the brave stars of this pretty but sterile adaptation of the Anton Chekhov stage classic.