Sexy and passably entertaining, with a plot that's too clever by half.

Most of Widows isn’t felt. It’s a cold exercise, and occasionally a ridiculous one, as when McQueen tries to get fancy, with camera angles that make no sense.

Polish director Malgorzata Szumowska (“The Other Lamb”) directs for the big screen, with eye-pleasing mountain visuals (the Slovenian Alps subs for Mount Washington) and a well-executed adventure. But when the setting is in civilization, the drama grinds to a halt.

A feverish, unremitting and grimly joyless film.

Escape Room is an amusement park ride. It has no reason for being beyond that base-level kick, and it doesn’t, as they say, transcend the genre. But there’s something to be said for amusement park rides. People like them for good reason.

Only intermittently funny.

There's talent here, but for directing, not writing. If Ritchie wants to last, he's going to have to allow somebody else to write his screenplays.

The likability of Lydia and Emily helps, but writer-director Ben Falcone’s tendency to milk emotion that isn’t there drags down the movie and some of the comic bits feel obvious and pushed.

There are some rumblings about the sea monsters wanting to express their true selves and being accepted by humans even though they are different, yadda yadda, but it’s not very well developed and Luca, like its charming village at low tide, is a shallow dip in the water.

So, Dogman is a strange case: Great actor, great character, but a story that’s like an overstretched anecdote infused with art-film portent.

Pretty and vague, the kind of film that might play on a loop at a county fair's Americana exhibit.

There’s no denying that this imaginative puzzler has moments you won’t soon forget.

In the end, this is not really a World War II movie. It’s just a pretty good action film that borrows the plot from about three or four “Fast and Furious” movies, while stealing riffs from Tarantino.

A mean-spirited comedy...that steals the rampaging-psycho-chick formula from ``Fatal Attraction'' and tries to make it funny.

Darned if this film doesn't have some nice touches.

Interesting and often compelling, and a must-see for organic food zealots.

As a visit to a world and a way of life most of us will never experience, American History X is vivid, and it feels honest. At the very least, it's not typical.

What Daylight lacks is the knowledge of its own limitations. The only really hysterical line is delivered by Sly's son, Sage Stallone, who plays one of three young prisoners also stuck in the tunnel...Surrounded by rubble and rising water, he gazes longingly at the 14-year-old Harris and says, "If we don't die in here, I was wondering if I could give you a call. . . ."

Still, the film's limitations are serious. Pennebaker and Hegedus did not begin their film until Clinton was already nominated, missing out on the big stories of the primary season: Gennifer Flowers, the draft flap and Clinton's knock- down, drag-out with Jerry Brown in the New York primary...With mixed results Pennebaker and Hegedus attempt to sketch in what's missing via unused news footage and out-takes from ''Feed,'' the Kevin Rafferty-James Ridgeway film about the New Hampshire primary. In one example that I picked up on, Pennebaker and Hegedus juggle the time sequence, giving the impression that a scene of Clinton hanging out in a hotel with his handlers in New York occurred in New Hampshire. [30 Dec 1993, p.E1]

There is no diverting from strict chronology, no point the documentary wants to make that requires moving forward and back through time. It just inches ahead, one year to another, sometimes one day to another. By the middle, each time a year changes, it's a relief.

A neo-noir thriller long on atmosphere and short on production values.

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

A little movie with a lot of hilarious swearing and an unexpectedly big heart.

Starts off with a burst of energy but becomes tedious midway through.

A film made with high aspirations and more than the usual commitment but one that, after an arresting beginning, changes into a passive rumination.

Funny though it is - is it could have been a whole lot funnier.

Has an oddness and whimsicality about it that can, at first, be confused for authenticity.

Guadagnino has a choice, whether to be an artist or just the maker of artistically rendered, conscientiously realized garbage. It’s time to quit while he’s behind.