Worth seeing.

It's like watching a bad update of an Antonioni film.

This half-baked sci-fi horror film, filled with jerky, washed-out, highlighted, blurred and toned imagery, is a tiresome experience.

What makes Aniston, of all actresses, especially right for Cake is that her comedy has always had a certain ruefulness underlying it, an understanding of life’s limits, a kind of glum acceptance. So the transition into sadness and desolation is a natural step for her.

The Instigators is unremarkable but consistently amusing, and makes you feel like everyone showed up at the set expecting a party.

The overall experience of the movie is of something fresh.

Filled with moments that will make you smile.

It's really, really funny.

You strain to hear mumbled dialogue at times, and there's no sense trying to making sense of it -- but Exorcist III is not half-bad terrible psychological thriller junk entertainment. [18 Aug 1990, p.C3]

It’s long, downright dispiriting, enjoyable only sometimes, and yet there’s a feeling of authenticity. It’s neither bad nor good, but interesting. It might improve with age.

Beethoven once went five years without composing. Until now, Downey has gone five years without making anything close to a serious movie. The bigger waste of time was Beethoven’s, but talent wasted is talent wasted. This is the type of film Downey should be making.

There's more than a touch of whimsy in A Touch of Spice, a sentimental Greek offering that's been immensely popular in its home country but doesn't translate well.

Jennifer 8 is an empty-headed thriller, uninspired, by the numbers, the kind of movie that gets made not because anybody wants to make it but because of a perceived market out there for this kind of picture. People do like thrillers, but they don't like long, boring, vapid thrillers, and Jennifer 8, which opens today, is definitely in the latter category. [6 Nov 1992, p.C1]

An unfortunate casting decision, however, comes close to sabotaging a witty script.

The potential for a funny film is here -- one that captures people with their ''clothes'' off, and uses fashion as a metaphor for emotional defenses. Sadly, Altman seems to have taken out all the jokes, and given his actors nothing but sketches to work from. [23 Dec 1994, p.D1]

Nattiv, working from a sharp script from Nicholas Martin, expertly mixes in documentary footage to convey a sense of the times and the war.

Has more in common with a horror movie than with a genuine political work.

It is impossible to take your eyes off the screen.

What The Banger Sisters offers in place of an eloquent statement is the charm of two actresses at the top of their game in flashy roles and a smart script that's decidedly more coarse than sentimental.

Cate Blanchett has the title role, and she does wonders with it, bringing a degree of passion but also suggesting something essentially unevolved in Charlotte's character.

Most of the right laughs in most of the right places and some unexpected ones thrown in.

The most compelling reason to see this movie is the profile we get of the horrors of war.

Clearly, this is something rare: a movie that insulates itself against its own rottenness by being lousy by design.

Earns its emotional moments, and it takes the audience along.

It’s scattered and messy and startling and electric and fun.

Neil Jordan (Mona Lisa) makes a fine comeback after his fall with High Spirits, by directing with as witty a touch as the Mamet script requires. [15 Dec 1989, p.E1]

There's nothing here but wreckage. Sherlock Holmes: A Game of Shadows is so ineptly made that the story is advanced solely through announcements.

It's up to Ellen Barkin to carry the movie, and she manages until the thing just becomes a dead weight. [10 May 1991, p.E1]