There are a lot of little things wrong with Where’d You Go, Bernadette, but one big thing right: Cate Blanchett. She takes the title role and has a party with it. The little things wrong can’t be summed up in a sentence, but they linger in the mind and intrude on the memory of the movie, once the bedazzlement of Blanchett’s performance starts to wear off.

Unfortunately, “Operation Fortune” doesn’t consist entirely of scenes between Grant and Plaza. There are pockets of genuine life onscreen, followed by long, dull stretches. The movie always gets better, but then it always gets worse. Then gets better again. It’s that kind of experience.

Isn't quite as boring as it sounds, thanks to writer/director Steve Conrad's strong script and decent performances by John C. Reilly and Seann William Scott.

An unbroken flow of sad or nasty incidents.

It helps that most of Creation is about the relationships - Darwin's with his wife and with his daughter. Even if we resist it, even if we don't want to be dragged in, the story of Annie becomes quite moving, almost unbearable.

One of the nicest things about Father of the Bride is that it's not ashamed to be old-fashioned and sweet. It's also not ashamed to get sappy and drippy and gooey, but you have to take the good with the bad. [20 Dec 1991, p.C1]

Look Who's Talking plays baby-picture cute almost beyond the limits of the tolerable, but it has enough spark and intelligence to be a very likable, occasionally riotous romantic comedy. [13 Oct 1989, p.E1]

A Man Called Otto is a formula movie, and no matter the nuances, this formula is not that satisfying.

Me Before You is just a little better than it had to be. It’s not so much better that it escapes being what it is, a sort-of romance, liberally sprinkled with moments of corniness and emotional dishonesty. But ultimately, when it matters, it’s truthful — about the people depicted, and who they are, and what they face.

The Fountain' never comes together. Like the time traveler at its center, it's all over the map.

The three films are watchable but resolutely minor works, though each has something to recommend it.

The fighting in the “Karate Kid” movies and its Netflix series offshoot, “Cobra Kai,” has always been quality, but in “Legends” it’s too quick-cutting and chaotic, hard to follow and over much too quickly.

Enlivens the classic premise of innocent-in-the-city by moving its archetypal characters in unexpected directions.

In addition to being his filthiest, this is his most free-associative movie. In spite of and because of its homemade look, it's also his funniest.

Barbarella is a pure goof -- Vadim called it a kind of sexual Alice in Wonderland of the future -- and Fonda seems to have reveled in every sexy, campy moment.

This film is the closest we're going to get to anything new by Williams, and it's a respectable effort.

It's worth seeing the movie just to observe [Grodin's] delicious blend of unctuous manipulation and anti-Communist sanctimoniousness. [15 May 1987]

Much of it is enjoyable and has the aura of a superior action film, but it collapses into a laughable wreck and ultimately reveals itself as a mild waste of two hours.

A movie with the power to freeze the mind and make anyone watching just want to stagger away mumbling nothing but “This is awful,” over and over, until the pain goes away.

Wildly romantic.

It's all so cute -- except that Weber wants this to be a thoughtful film.

An odd little concoction, a coming-of-age story that, only in passing, is also a mystery.

Director Doug Hamilton was given extraordinary access from the very beginning, so that we see Green Day composer and lead singer Billie Joe Armstrong having some of his initial meetings with Broadway director Michael Mayer, who conceived the show.

It's a maddening, satisfying, junky, enjoyable picture.

Ultimately, the story of Yves Saint Laurent makes a compelling argument for fashion as art, and begs to answer the question if there is such a thing as innate taste. And although the cadence might not be entirely original, the high-style results most certainly are.

Isn’t a bad film. But it’s a little slow and a little too un-chaotic for its own good.

In special effects, Lucas has moved a galaxy beyond. In energy, not yet.

The problem with Popcorn is that it's just as ridiculous as the horror movies it satirizes. [02 Feb 1991, p.C3]