The film doesn't make a case for Lavoe as an important artist.

The comedy, to the extent there is any, consists mainly of Carrey's verbal asides and strained reactions to people. The script gives him very little to work with.

Vanessa Redgrave makes a regal if too-brief appearance.

Rust isn’t so much a poor story or even badly told; there’s just too much of it, strung out along a discursive narrative trail that turns out to be unnecessarily repetitious.

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]

It's funny in spots if you can tune out the Farrellys' ultra-crass jokes - along with any memory of the first movie.

It's not just a feel-good holiday movie, though audiences, especially youngsters, will certainly walk out of it feeling good.

Only occasionally does the film fall into the trap of making the prisoners cute, but it never falters in important ways.

At heart this is a thoughtful, well-made movie about something serious.

Apart from Lawrence's goofing, Blue Streak isn't much of a movie.

What's immediately apparent -- and refreshing -- about Chasing Liberty is that it doesn't play cute with its premise.

An amazing film amazingly tasteless, tin-eared and awkward, but amazing all the same. Anyone with a predilection for bad movies might want to see it, if only in an inspecting-the-wreckage spirit, since because movies this misguided come but once or twice a year.

Life of the Party presents a situation more than a story, and in that it’s more like a sitcom than a conventional movie.

Laura Dern is not a wizard. She cannot make the dumb and formulaic elements of her romance/travelogue movie “Lonely Planet” disappear. But Dern brings such authenticity to Katherine, her confident, matter-of-fact successful author character, that her performance often outweighs this Netflix movie’s flaws.

This is a film that starts out promisingly and finishes with an effective epilogue. In between, there are some interesting bits - including a scene in which Errol Flynn tries to snag a big-time role in "Lolita." But outlandish as that moment might sound, it's not. Everything here, in fact, is just a tad too respectful.

It’s a pastiche of a pastiche, cycling through familiar tropes without adding anything to them; turning what could have been a fascinating critique of society’s superhero obsession into just another way of indulging it.

Has a certain charm and is sure to appeal to tweens, at least the female variety.

Flipped succeeds when it backs off the gluey nostalgia and focuses instead on the subtler pitfalls of adolescence - the tough stuff, the moral stuff, the constant tacking between fear and courage.

Not for a minute is Mad City anything less than entertaining. Yet it becomes frustrating nonetheless. Its ideas gradually seem to be at cross-purposes -- not complex, not tantalizingly ambiguous, but tangled and undefined.

It's a homemade protein-and-steroids smoothie of a plot, combining elements of gore, self-parody, 1990s nostalgia overload and an attempt to say something -- while actually saying absolutely nothing -- about the American dream.

Kinda cute, laced with a few chuckles, but mostly just annoying, the new feature film version of The Little Rascals is not likely to go down in history as a paean to kids or a filmic delight for anyone much older than 7. [05 Aug 1994, p.C3]

Rod Lurie's heated but empty-headed remake re-creates the original's trudge toward savagery but can't re-create its social context - and doesn't bring anything new to the table.

To put it simply, people may be right and people may be wrong, but there are no right races or wrong races. A writer-director who chooses to have characters representing race and not themselves alone paints himself into a corner in which everyone in the movie absolutely must come out all right.

Shanley tries to make something courageous and symbolic out of the notion of jumping into a volcano, but his philosophizing is sentimental, heavy-handed and forced. The idea of doing something reckless and adventurous even becomes a bit depressing when it dawns on you that Shanley may have been taking his own advice with this movie, for less than glorious results. [9 Mar 1990, p.E3]

It's troubling to watch it stray and ramble as first-time director Antonio Banderas struggles to pull disparate elements together.

It would probably be a mistake to emphasize the relationship aspect of The Tomorrow War too much. At its core, this is just a really good monster movie. All the same, there’s a touch of beauty to it.

Admiring The Singing Detective is easy, and so is appreciating the originality of the story's conceit, the artistry of the actors and the directorial intelligence of Keith Gordon. But loving it would take an act of will.

The important thing is that Clark has found a new way to be creepy, which isn't easy. In the process he has created something irresistibly watchable, the kind of original piece that might mean less but reveal more than its creator intended.