Queeny, corny and impossible to resist.

Offers a lively but jumbled insider's view of a world of great talent and greater risk.

Director Jill Soloway gets the most out of her actors, fleshing out their characters and letting us know what makes them tick. It's refreshing to hear dialogue that's natural and modern and doesn't try to pontificate. And the rewards are many.

Standard issue and sluggish as it sometimes is, “Elevation” maintains engagement.

Tombstone, in spite of its action-movie pacing, becomes an awkward, unconvincing tale as Russell's stubbornly benevolent Earp is slowly nudged by moral compunction into fighting various scourges, not the least of them a vicious gang of red-sashed cowboys led by Curly Bill (Powers Booth) and his fiendishly cool gunslinging sidekick, Johnny Ringo (Michael Biehn). [25 Dec 1993, p.E1]

Although the film ends with a facile, romantic comment by Oppenheimer, the unnerving momentum of all that has gone before will remain to haunt the imagination of the viewers. [20 Oct 1989, p.D2]

A peppy, bouncy documentary that is watchable and informative, although Tickell's celebrity name-dropping at times detracts from the serious message.

Has a weirdly divided structure that alternates Irwin's nature segments with clumsy dramatic footage set in the CIA.

Stays funny despite rickety gags because Ben Stiller and 81-year-old Eileen Essel are old pros at playing it straight.

Like its lead characters, Going in Style just grooves along nicely, until the credits roll and you realize it was time well spent.

Passenger 57 is silly but fun -- an action movie accidentally saved by its glorious stupidity. It will make people shake their heads, roll their eyes and laugh at the screen, but it will keep their attention, because the movie has a crazy kind of life. [06 Nov 1992, p.C1]

Some movies are in-between and inoffensive and harm absolutely no one. Prom is one of those.

Zero is more of an intellectual exercise in which you’re never given all the variables to solve the problem — and then you find your calculator was on acid the whole time anyway.

Two good characters and two good performances go into the old poubelle — or, as we say in English, the garbage bin.

There are laughs throughout, but Guilt Trip isn't joke-happy. The humor is light and well observed, as when Mom keeps playing the audiobook of "Middlesex," and the son gets uncomfortable hearing about anything sexual in front of his mother.

The screenplay is deceptively tight, even as the main characters seem to be buzzing aimlessly through the proceedings. Like the most successful films of the drug-hazed genre, this movie only appears to be going off the rails.

Subliminally speaking, you may not like this movie because it goes so far. Or, you may not like it because it stops short. Or you may like it for one of the above reasons. [21 Feb 1986, p.68]

Big, loud, glossy and entertaining.

To their credit, by the time the movie ends, Blunt and Johnson have made the sale. I believed them and liked seeing them together. They don’t make Jungle Cruise worth seeing or even worth tolerating. But for scattered minutes across this wasteland, they make it less painful.

Painless and predictable, with an amusing if overwrought featured performance by Woody Harrelson.

It doesn’t help that there are strong similarities with Sony’s equally disorganized yet superior 2016 film “Storks.” Both films work off the same premise — that humans don’t bear live young.

Like a Christmas present you didn't know you wanted but are delighted to receive.

A near miss, a respectable but uninspired thriller that's intelligent and considered in its details, but ultimately weak in its impact.

There's nothing about this thriller to prevent it from soon becoming enmeshed in the memory with others in which Michael Douglas wears a starched collar and grits his teeth.

Amid all the mayhem, a fairly lucid portrait of disturbed child psychology emerges. Although derivative, Chris Thomas Devlin’s script has enough sick, witty ideas to make the fearsome goings-on seem fresh and immediate. At the very least, after watching Cobweb, you’ll never look at a jack-o’-lantern the same way again.

Has no narrative throughline, no emotional spine. It's a mess.

A remarkable cast for a small, non-mainstream effort.

Boundaries is a slog, a succession of weak and uninteresting incidents, leading to a conclusion that seems foreordained.