Director Mike Figgis (''Internal Affairs'') adorns ''Mr. Jones'' with some unconventional touches, abrupt fade-outs that give a touch of poetry to the endings of scenes -- and keeps the audience believing that ''Mr. Jones'' is a class act long after it's obvious it's not. [8 Oct 1993, p.C3]

Mocking Tinseltown is a pretty exhausted subject, and even Jaglom, a genuine insider, has a hard time making it fresh.

Competent but uninspired thriller.

Far from the worst cookie-cutter film to come off the Hollywood assembly line, merely the latest.

Another art film that's more pretentious than it needs to be.

It's an ambitious film -- but also a scattered, unfocused one.

Chan, though, is very good in an all-dramatic role as a rebel general. There's lots of battle scenes, well-filmed, but only one martial arts scene. It seems out of place, but is most welcome nonetheless.

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.

The new documentary, Biggie: I Got a Story to Tell was made in the spirit of the earlier work and the younger man, the hungry hustler hanging out on Brooklyn street corners with his friends.

Starring Linda Blair and directed by Mark Lester, this 1979 film was made too late to cash in on the roller-skating craze that briefly swept parts of California in the 1970s. The story is inconsequential, but the camp value is high. [26 Nov 2000]

The show takes little more than an hour to finish and less than a minute to forget, while politely reminding us not only that gay movies have fallen on hard times but also that they refuse to give up.

Sometimes hilarious and pleasingly intense, “Day the Earth Blew Up” can also be kind of meh. But even when not as clever as its legacy demands, there’s enough of the old aesthetic and eclecticism to make us hope that this ain’t all, folks.

Maybe this mixed-up and weird, awful but awfully likable movie is what Dirty Harry had coming to him, after all.

Look Both Ways has a couple of things going for it, namely a compelling premise and the charm of Lili Reinhart (“Riverdale”) in the lead role. But the whole movie is a lie, and once you figure that out, the realization cuts into a lot of the pleasure.

A fairly mediocre film, not nearly as funny as it should be, nor as heartfelt. On the plus side, it's only 85 minutes long and isn't boring. On the downside, it has an intrusive pop soundtrack and a screenplay full of fake conflicts.

The upshot is a film that is stunning to look at, even inspiring at times, but dramatically bizarre. Obviously, this technology has its place, but it makes too strong a statement to be casually used in remakes.

It's the work of a very young filmmaker (Lerman is in his late 20s), promising if finally unsatisfying.

The Rip is another one — efficient for what it is, but if it’s remembered at all it will be for Damon and Affleck’s matching beards and effortless way of appearing at home together onscreen.

Bateman comes off well, humanizing his character with a strain of melancholy that’s one of the movie’s genuinely touching elements. Fey is all right, though she falls back on her patented shtick. Driver makes the most of his hipsterish role, nicely playing off the other siblings’ tension.

The last hour of Titanic is huge and staggering, but there's no horror in it. No gravity, either. Entrusted with one of the century's monumental stories, Cameron can present it only as a crying shame. And that's a crying shame.

Forgettably mediocre, but it's not atrocious.

The predictable script feels as if it were filmed right off the cocktail napkin it was jotted on, but at least the movie has an "Ocean's 11" sequel's worth of good actors, including Alfred Molina, Jeremy Irons and Jean Reno.

All Upside Down has is its love story, which despite the undeniable appeal of Sturgess and Dunst, never ignites. So the movie is like a huge package, wrapped in gold leaf, but containing a 10-dollar toaster. Fine. It's a toaster. It works. It's not garbage. But who can pretend it's not a disappointment?

Still, those who meet the movie on its own terms and don't expect a masterpiece may appreciate the commitment of Wright and the actors. Blanchett goes out of her way, for example, to be repellent here.

Has some funny moments, and if you're a Beavis and Butt-head fan, you'll enjoy the movie.

Whatever their differences, love is this family’s language, and that’s undeniable throughout “Road Between Us.”

Schlock, but amusing schlock.

Burns has a hard time finding a central idea, some overall point that isn't borrowed or trite. Or both.