It's a movie to feel. Even when the thinking isn't all there, the emotions are, all the way to the film's poignant last seconds.

A "nonstop thriller" that is also a nonstop dud. Underline the word "long" in the title.

The best thing about All I See Is You is that it’s not afraid to experiment. But it’s an experiment that went wrong, a film in which ambiguity trumps complexity.

The landscape shots are impressive, and it's fascinating just to look at the native people -- but after 10 minutes, you've had the experience. Connery is crusty, twinkling and attractive, but in reciting this ham-handed dialogue, the best he can do is be a good actor trapped in a bad film. [07 Feb 1992, p.D1]

A Family Affair never even makes the case as to why these people should be together.

The promise is double the fun, double the laughs, and the movie can’t quite deliver on that. But there are still big laughs to be had, and there’s the pleasure of watching these two gifted comedians sharing the same frame.

For all of its dazzlingly rendered cityscapes and nonstop action, this revamped Total Recall is a bland thing - bloodless, airless, humorless, featureless. With or without the triple-bosomed prostitute.

They try to make Beverly adorable, and the movie comes off strained and dishonest as a result.

Not as simple as it looks, though its appeal is simple: Robert Redford goes to prison, and James Gandolfini ("The Sopranos") is the warden. That's a movie worth seeing right there.

Floats is corny and false, with a script by Steven Rogers that's almost 100 percent artificial sweetener.

Running mainly on adrenaline and a gimmick, it's different from other holiday movies in that it's not ambitious, earnest or overblown, and it obviously wasn't made with one eye on the Oscars.

Kingpin has nastiness going for it. There are prosthesis jokes, bad-teeth jokes, ugly-women jokes, sight gags involving vomiting, etc.

The movie's best special effect hands down is Anthony Hopkins as Talbot the Elder, who flounces around in a tiger stole and utters his lines with such a delicious madman twinkle you might want to snack on him yourself (ahhh-ROOooh).

You promised only a slim plot, tidy morals and lovers with quaking loins. It was fun while it lasted.

Lush and heartfelt, but compelling only in fits and starts.

The Lady is a portrait in moral and physical courage, a sort of analysis of what constitutes greatness.

A wild ride through nonstop visual effects yet a warm wallow in the cinema of the dumbed-down.

A big, juicy bone for canine-focused humans, but much less of a treat for others.

Were “Vita” better developed and edited, one might find joy in its rejection of the patriarchy. But the female-friendly dialogue relies too heavily on exposition. Nobody asks if anyone wants a cup of tea.

Much like its own characters, it dithers too much - and it dares too little.

The script is hopeless in both senses of the word, offering no hope and lacking in quality. But I enjoyed the two victims, at least until they started screaming, and appreciate the way director Renny Harlin creates a sense of menace by his choice of lenses and his placement of the camera.

At the finish, the filmmakers give us at least three different endings, probably because they have no idea what Freedomland is saying, probably because it's not saying much of anything. But a film with this many virtues can't be written off as just another average entry.

A ridiculous teen horror movie that piles on more than enough dry humor and freshly moistened gore to satisfy its lowbrow audience.

Approximately the last hour of Dante's Peak is made up of action scenes, and how well one likes computer-generated destruction will determine how well one likes the movie.

Isn't likely to win Murphy another Oscar nomination, but it allows him to do what he does best - loads of physical comedy.

In every small way Heston succeeds, but Needful Things ultimately is hard to sit through. It should have been edited with a meat ax. [27 Aug 1993, p.C4]

Eventually arrives at a lovely place, but it arrives limping. Small but nagging problems drag it down, such as weird acting choices, bizarre casting and strange aging makeup.

It's not just that Pitt's performance is bad. It hurts.