Twilight has a few gory plot turns - mostly offscreen - and one near-sex scene that may offend a few Amish people, but the rest is maybe 33 percent less wholesome than "High School Musical." It's almost certainly less risque than what you were watching when you were 14. (Cue the soundtrack to "Risky Business.")

An intelligent film with a sophisticated understanding of art and the significance it played in Hitler's psychology.

Hard, ugly and nasty yet a stylistically vigorous and often insightful piece of work.

Asks a lot of the viewer, but it gives something back, though I'm not sure exactly what. It's an amusing and exasperating catnip dream about the adventures of a 1-year-old cartoon kitten.

Writer-director Peter Landesman has a fascinating and appalling story to tell here, and that cuts through the layers of corniness.

I don't see Edge of Darkness as a great movie, or a particularly exalted one, but I do see it as one made by people who know where the buttons are - and who know how to press them. Hard.

If “Remarkably Bright Creatures” only had that magnificent octopus going for it, it would be halfway to a good movie. But the human characters are interesting, as well, showing the stresses of the different stages of life.

A movie that doesn't quite have enough romance, thriller or revenge-fantasy elements to qualify for any of those genres. More than anything, it's a celebration of uncomfortable silences. The awkward moments in this movie far outweigh the joyful or tragic ones.

Dom Hemingway isn't about story. It's about Jude Law as a force of nature, and that turns out to be a very entertaining diversion.

Often fascinating and provocative, although, as a film, it feels a bit long and somewhat repetitive.

Exuding glamour, health and prosperity, real-life spouses Beatty and Bening are so radiant that they run the risk of seeming superhuman and thereby losing our sympathy as screen characters.

If there’s one thing interesting about “Spaceman,” it’s how it demonstrates how a great actress’ essence — just the essence, not even the performance — can elevate a nothing part.

The movie also allows Chan to demonstrate that he can act. In between setting traps, blowing things up and rendering people unconscious, Chan plays grief in The Foreigner, and his face contains all the sadness of the world.

The actors perform as though this were a first-class effort, and at times almost make you believe it. Matthew Modine is boyish and explosive, and Melanie Griffith further establishes herself as an interesting and original actress. Her line readings are odd, yet strangely right. [28 Sept 1990, p.E1]

A case of ho-hum humping leading to boring betrayal. The ingredients are predictable and the snail's pace is punishing. [26 Oct 1990, Daily Datebook, p.E3]

Using documentary-style Super 16 film and staged cutaway interviews with friends and family, James and his photographer and co-producer, Peter Gilbert, fashioned a movie with an affecting, candid look.

[Pedro Almodovar] gives it a nice try, but his approach turns out to be completely wrong for the material he's working with here. [25 May 1990]

The new Netflix documentary Bob Ross: Happy Accidents, Betrayal & Greed, produced by husband-and-wife team Melissa McCarthy and Ben Falcone, paints a picture of naked opportunism that shattered Ross’ legacy. It’s the story of how a man became an industry, and how his family was gradually, systematically left out in the cold.

A Tale of Love and Darkness is a dead film, an eminently worthy corpse.

The production values are first rate. But you will wait in vain to hear a good reason for this movie's existence.

The series suddenly springs back to life. It's delightful and exciting, with good jokes and fun characters. While it might lack the freshness of the first installment, the formula isn't stale, just familiar. And familiar in a cozy and pleasant way. [25 May 1990, p.E1]

Sexy, peculiar and always entertaining.

Uses loneliness and alienation as the primary emotional colors on a surprisingly expressive canvas.

Pretty and vague, the kind of film that might play on a loop at a county fair's Americana exhibit.

This gory parody hits television where it hurts -- and draws blood. It will bring joy to the heart of anyone who hates TV.

I liked every minute in it. Other films are like empty containers; this one's full. It's full of invention, full of moments, full of business, full of the nuances of human interaction, full of feeling.

Through a simple story line, dramatic acting and National Geographic-like shots of the city's rough and pristine edges -- creates cinematic magic.