An energetic young cast, consisting of a mix of professional dancers and actors who do convincing imitations of Arthur Murray graduates, is positively inspired in numbers combining traditional ballroom steps with hip-hop.

True, the film doesn't need 110 minutes to tell a story this pat, but hey, in dark times, it takes longer to deliver a feel-good message.

Mostly it seems forced, pat and didactic.

His personal efforts are praiseworthy, but if glacial melting is in fact the "canary in the climate coal mine" (his words), the movie might have given us a bit less of Balog and a bit more of the startling sequences he produced.

Standard-issue slasher pic.

Jackass 3D has its moments, but it lacks the ingenuity and hilarity of the previous films - no doubt in large part because of the aging process.

A strange mix of the campy, at least in the English dubbing, and the awesome.

A Kiss Before Dying is a thriller without thrills, though it has some of the built-in kicks of a crime movie -- wondering what's going on, wondering why it's happening, wondering how it's going to end. Unfortunately, it ultimately gets so silly that the main thing people in the audience may end up wondering is why they're still sitting there. [26 Apr 1991, p.E1]

Brown, is a good enough actor and director to keep the film afloat for long stretches.

Unpolished but entertaining.

The new movie splits the difference between the horrible and the hilarious, with predictably lukewarm results. Still, the story is delicious enough to survive an earnest treatment.

A silly, cross-cultural shoot-'em-up -- the sort of movie that will work for those with some time to kill (no pun intended).

An over-the-top, rollicking, candy-colored raunchfest.

Most moviegoers will have trouble looking past Culkin the actor, who does a decent job of sending up youthful fame in a movie that's barely worth the effort.

Better for several reasons. First, they've jazzed up the animation. The backgrounds appear to be digital, and they are striking. The story is also less violent and combative.

It’s admirable, but it has long stretches of dull, and the tickets aren’t free.

The movie's narrative tension hinges on, well, nothing.

It all adds up to an entertaining combination of suspense and melodrama, a movie that doesn't cohere too well - and veers toward the silly in its more-obvious plot mechanics.

Night and the City is basically a mess, but De Niro, calling up his reserves of manic energy, is entertaining in the title role. He's foolproof, really: He even shines in mediocrity. It's a shame his talent didn't rub off on Jessica Lange. Playing Helen, a tough-broad barkeep who joins Harry in his biggest scam yet, the overly mannered Lange gives her worst screen performance to date. [23 Oct 1992, p.C1]

Really is just an excuse to string together some silly fake-movie clips.

Naysayers have been claiming for years that the "Moneyball" book wouldn't work as a movie. But ultimately, it's the cinematic touches that keep this film version from becoming something exceptional.

Here and there, particularly in flashback, Bening gets a scene or a moment to invest in and shine, but for truly a surprising length of time, Bening plays a woman who is asleep, literally.

Lucas knows his fans are un-boreable, un-annoyable and inexhaustible. For an artist, that's more a curse than a blessing.

The thinking part of this thriller needs work. It's not nearly as intelligent, thoughtful or penetrating as it promises to be.

It isn't terrible. It's far from a milestone in Japanese animation, and not an especially memorable entertainment. Yet it doesn't try to be either of those things.

Looks fantastic, but the film suffers from the TV-to-feature transition.

Director Paul Morrison ("Wondrous Oblivion") nicely re-creates the period, but puts too much weight on the sexual relationship as determining the men's artistic courses.

This conventional PBS-style piece intends to deliver the story behind the event without much more than the slightest nod to the music, which is shunted to the side in this telling of the already oft-told story.