An uplifting documentary.

Miss Julie has almost everything — good actors, impeccable sets and direction rich in emotional detail — but it lacks madness and passion, and without those elements, it becomes a mere intellectual exercise.

The bottom line is that the filmmakers are working with nothing here — no characters to speak of, no interpersonal relationships, no story with any suspense or capacity to engage, and no script with any humor or wit. What can they do?

For all its hip, rat-a-tat dialogue and a sharp photographic look that give Wall Street a feeling that something exciting is happening, the movie's a bankrupt deal. [11 Dec 1987, p.E1]

If you can get past the ridiculousness of the setup - easy to do, because the posters make it clear this isn't a Woody Allen movie - it's pretty much impossible not to have fun.

Offers some memorable stories, but it simply tries too hard.

Neeson has a way of getting upset - a frantic purposefulness - that fills viewers with both empathy and anticipation: He's so miserable that we care.

That the movie is leisurely and unconventional is all part of its charm, too - until it isn't anymore. The movie is a tale of corruption, but then it's not. It's a love story, but no, not quite. Later, it flirts with becoming a great journalism tale, or at least a whimsical journalism tale, but that vein leads nowhere, too. Nor is it much of anything else.

Another innocuous film about another unusual girl.

The story, like the protagonist, floats along in a noodly sort of way, intelligent, benign and ineffectual.

An old-fashioned and family-friendly comedy.

Guaranteed to inspire, antagonize and divide his (Lee's) audience.

He (Connery) hasn’t made a film for the ages, but it’s on par with other decent historical sports dramas.

Doc Hollywood has its moments, including some nice comic turns by Barnard Hughes as a curmudgeonly doctor, Bridget Fonda as the local coquette and David Ogden Stiers as Grady's folksy mayor. And Julie Warner is certainly hot stuff. But Caton-Jones' approach is too facile, and his use of Southern-cracker cliches too offensive, to capture my vote. [02 Aug 1991, p.D1]

What's much more fascinating and enriching is Eastwood's Olympian vision, the sympathetic and all-encompassing understanding of the pain and grandeur of life on earth.

So there’s a lot going on here, and director Joel Crawford and his teams efficiently keep the story moving along. There’s a wonderful “Flintstones” versus “Jetsons” vibe, the characters are, as usual, appealing.

Death Becomes Her may be crude and tasteless, but it's also irresistibly funny and very well played by Streep, Hawn and Willis -- each of whom suffered career disappointments of late, and each of whom shines in a role that casts them against type. [31 July 1992, p.D1]

A half-baked disappointment...never flies, never comes close to meeting its own expectations.

The film deserves some kind of honor for its campy originality, smart and funny dialogue, and provocative yet sensitive look at the making of a film circa 1969.

Charming family story.

Gooding can't will this well-meaning film into life.

The result is a movie that combines a seriousness of purpose with an impish delight in craft, in a way Hitchcock would have appreciated.

A caustic comedy of Hollywood manners.

The film never settles into an assured rhythm, and instead the actors always seem to be pushing, putting the hard sell on an audience that, however distracted by the strenuousness of the sales pitch, still isn't buying.

All Hollywood and no Homer, but within its limits, it's a vigorous, entertaining movie.

It's a delicate, intelligent movie about modern parenthood and the pressures that children face, and it features a cast of talented actors who were clearly committed to the movie's message.

If you love the “Fast & Furious” franchise, you will like Fast X. If you merely like the series, the new movie will leave you indifferent. And if you’ve never seen a “Fast & Furious” movie, Fast X is not the place to start. It’s a middling installment, a big step down from the stupid-wonderful “F9: The Fast Saga,” but with just enough of the crazy stunts and chases that you can’t find anywhere else.

Maleficent imparts a feeling of enchantment. Here is a world that's strange and beautiful.