This is the animated children's film equivalent of "Another 48 Hours."

Lister is quite funny and engaging. It's just too bad that some of that screenwriting wit couldn't have been shared with the movie's protagonist.

The Promise is hardly grotesque; and it has good things in it, but by the end, it just feels like a failed manipulation.

The good ol' Jim Carrey we knew and loved is back, rude, crude and unglued.

An intriguing brain-teaser.

CB4 has a good time parodying the rap world, and the mock songs and fake videos featured here are funny and dead-on. But more and more as it goes along CB4 gets bogged down in details. The inspiration goes out of the picture, and the last half hour is just a matter of going through the motions. [12 Mar 1993, p.C1]

While there's a certain staid feeling to the production, it does deliver a solid working-over to the era's gentry.

In the end, though, the movie’s superior craftsmanship can’t overcome its aura of joylessness.

Not very good.

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.

In The Chaperone, Brooks is something of a fixed entity, a fully-formed force of nature already heading toward her peculiar form of glory. She has stuff to do all day — studying by day and partying by night, while Elizabeth McGovern as Norma has time to look inside.

The movie eventually settles into a more relaxed, warmer tone, as veteran TV writer Chad Hodge’s self-aware script acknowledges all the tropes — gay and holiday — while continuing to employ them effectively.

John Lennon once said, "There's a great woman behind every idiot." This time, I'm counting seven of them.

Viewers expecting rip-roaring, chandelier- swinging swordplay adventure are likely to be disappointed by the measured tone and portentous verbal interplay.

30 Minutes or Less is a strange case. Either it goes for a particular tone and doesn't achieve it. Or it does achieve a tone that's not really worth striving for.

To say Venom: Let There Be Carnage is not worth seeing is not enough. It’s not worth admitting into your life, even as an option. You’ve read a review of it. That’s enough. Now, never think of it again for the rest of your life.

Needless to say, Soul Men has a lot to overcome in its effort to be funny.

Silent House feels relentless, suffocatingly tense and almost unbearable. And that's a very good thing.

Yet all this work, all this skill, serve as little more than an elaborate setting for a rhinestone. At its core there is no passion, no sincerity of conception, nothing that might have made The Quick and the Dead into anything more than moment-to-moment stimulation. You get lots of clothes here, but no emperor. Or rather, no empress.

The movie also benefits from the presence of Anne Heche as Ellis’ wife. Heche doesn’t say much, but she conveys a lot.

If only it weren't based on a true story. It might have been a good movie.

Takes some admirable risks.

It is the Eddie Murphy movie where Eddie Murphy has next to nothing to do. Do little says it all.

A substantial examination of character, morality and destiny.

This is a tour-de-force performance, delivered by an actor at the top of his game, and it's a shame that K-Pax, instead of engaging our imaginations as it promises to, devolves into such a conventional, paint-by- numbers disappointment.

The first half-hour of this movie is sensational, creating an atmosphere of dread that any horror master would envy.

A whimsical modern fairy tale.

To the extent that it's original, The Mechanic is insane, bordering on gloriously insane.