The third and most uneven film adaptation in the series.

Landscape With Invisible Hand is a bizarre, off-kilter experience that shows us how we are destroying ourselves, no aliens necessary.

There’s plenty here to tickle the kids, and that’s what counts.

Burns presents two mildly amusing fellows wrestling with romance and expects the audience to see them as embodying universal dilemmas. At the very least, he wants us to take these guys as seriously as they take themselves.

It takes a little while, but Fatherhood eventually becomes exactly what you expected. It will make no converts, nor will it push away the faithful. It’s a Kevin Hart movie, after all.

The Hudsucker Proxy is the Coens' fifth feature in a decade, and you can see their tremendous artistic growth in every frame of the film. Classically composed, beautifully shot by Roger Deakins ("Barton Fink") and co-produced by legendary action-flick producer Joel Silver, Hudsucker has technique and visual invention to spare. [11 Mar 1994, p.C3]

The only problem with The Better Angels is that it’s not nimble enough to vary its strategy or to find ways for the character of young Abe (Braydon Denney) to grow over the course of the movie.

It has action sequences that will appeal to people looking for the usual pyrotechnics, but the core of the movie - and the source of the audience's interest - is emotion.

About American anti-Semitism, but it's not a typical genteel "cause" movie.

A romantic drama, a rare kind of film these days, even though romantic dramas were once a dominant genre in America.

At times, the sight of reserved English actors slapping, hugging and acting all Russian looks bizarre, though one casting choice is prime: Bob Hoskins has the ideal air of impish menace in the featured role of Khrushchev.

An appealing Hollywood satire.

It’s a slickly made piece of entertainment that’s a good time out at the movies.

When The Journey keeps its eyes on the road, it’s a nice little drive.

Columbus' schizoid approach works more often than not.

Yet the personalities of the actors are so appealing here and the direction by John Badham (''Stakeout,'' ''Saturday Night Fever'') so filled with inventive comic bits and details that Another Stakeout plays much better than you'd think. It's a consistently entertaining two- hours-or-so at the movies. [23 July 1993, p.C3]

This sometimes clever, outrageously gory and slickly violent horror comedy is more “John Wick” than Tod Browning, and that’s just the tip of its tonal confusion.

Free State of Jones is an extraordinarily ambitious film, and for that reason, it’s not perfect.

Everything about the idea of Mr. Popper's Penguins sounds lovely, and everything about the actual movie is ugly.

Doesn't accomplish its objective.

Beyond some network television-quality production values, the sequel to the 2015 film is completely satisfactory family entertainment. It's hard to imagine anyone putting "Goosebumps 2" on their end-of-year worst movie list. And not just because it's hard to imagine anyone even remembering this film beyond next Tuesday.

Something is wrong with A Good Woman: The lightning never strikes. It's never quite alive.

It looks spiffy. It has an attractive cast. Marcel Zyskind's cinematography seethes and shines. And it's a crock.

You want to like almost everyone in this film, but they're all undone by a weak script.

You should approach Resistance as a fact-based World War II movie and not think much about the Marceau connection. The truth is, even if young Marcel didn’t go on to become a major artist, this was a story worth telling.

A heartfelt tribute to both the player and the man.

Often is on the verge of spilling over into melodrama, but that doesn't bother me because life is the same way.

Tender Bar is a lovely movie — so long as it stays within a half mile radius of the bar. When it drifts from the bar, it collapses. When it goes back to the bar, it lifts a little. But it stays away too often to be called a success.