In the end it all seems a little too glib, too easy and not quite true.

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

Attenborough has done what nobody thought possible - recreate a classic without raping and pillaging the original, though Chorus Line purists will find plenty to moan about. [20 Dec 1985]

An average action film, made slightly better by Cruise, and more bizarre by Herzog, and more watchable by Pike, but still within the average range, a silk purse that still says oink.

The movie as a whole is a mixed bag, offering up stiff shots of skepticism and a few provocative thoughts on correlation and causality.

This is highly skilled filmmaking, but the movie is not for everybody — the relationship involves dominance and submission, sexual games played at a high pitch. This material falls short of pornographic, but still packs plenty of erotic punch.

Another romantic comedy about a career woman who has everything except a man, is Jennifer Aniston's attempt to break out of her TV role. But she doesn't have the magic on the big screen to make us forget where she came from.

Given his built-in appeal, Perry has the opportunity to broaden the subject matter of so-called black movies. He takes a stab at it in "Girls," but he could do so much better.

It's a slow-moving fable, with enough story and substance to make for one amazing Imax short. Instead the material is stretched beyond its limits into a long, repetitive and often stagnant 127-minute feature film.

Is Little lousy? No. It goes along pleasantly, unimportantly, predictably. Here and there, a mild chuckle might escape your lips. Ten minutes later, a half-hearted titter, or perhaps a knowing chortle. Just don’t expect to guffaw or cachinnate, and forget all about busting a gut. It’s not that kind of comedy.

Snake Eyes collapses in a crosscurrent of conflicting character motives, joyless plot twists and who-cares violence.

As a film it plays like a heavy-handed morality tale one might come across on a middling cable network.

Cheerfully raunchy and undeserving of its prohibitive NC-17 rating, Orgazmo is a harmless sex farce.

It’s true that “Dune 2” is as depressing as watching the news, but that doesn’t make it relevant, because it isn’t the news. It’s more like unnecessary self-torture, like watching a depressing newscast from another planet.

I found “Cats” pretty bland, but it has its moments of catnip, and as a holiday movie option that anyone could see, it might be just the ticket.

If Species sounds ridiculous, it is -- though as ridiculous science fiction films go, this one has its moments. As usual, these moments come early.

Kraven the Hunter will sate fans with Taylor-Johnson’s action bona fides and its fine cast. But those same fans may be less-than enthusiastic about the idea that, with no Spider-Man and no franchise to move forward, this one essentially has nowhere to go.

A pure Frankenstein flick -- ugly, profane, terror-inducing, clumsy, nasty, desperate, stupid, contemptible, horny and brought to life by schlocky, shoddy science and an electric wish to prove that its makers still matter.

It would be a mildly lovely thing to be able to say the movie isn't bad. But it is.

It's a meandering and rather aimless movie that would be considered trite if made by another filmmaker, and yet it has such a family resemblance to other, better Woody Allen movies that it's easy to stick with it and enjoy it.

This quirky film does the unexpected: It pours on the restraint, emphasizing the grit and making the romance as low key as possible. It’s an anti-romance romance.

Delivers all the pain, melodrama and redemption that fans of the genre demand.

Cusack should have been half the picture, but the screenplay keeps shoving him offstage for no good reason, and it's a mistake. One of many.

Made in America, for the most part, is surprisingly inept -- badly shot, badly lit and badly edited. It's the actors alone, Danson especially, who save it from total disaster. [28 May 1993, p.C1]

In essence, Sorrentino thought his way up to the middle of The Hand of God and assumed the rest would take care of itself. He started filming too soon. His screenplay needed work.

The movie is equal parts interesting, awful and lovely.

Despite a clever script and top-notch cast, whose commitment to doing service in the indie branch of the industry is commendable, Unknown falls apart just when it should be coming together.

The screenplay packs no particular surprises - some of the plot mechanics positively creak - but the leads bring some wattage and warmth to very modest indie fare.