A movie that features a cartoon rodent eating his brother's feces, and do you really need to know more about this update of Ross Bagdasarian's iconic musical creation?

Man of the Year remains an interesting proposition throughout, and a tale well told.

Beautiful but flimsy film.

There's no pretending this is a perfect movie. Yet I doubt I could have enjoyed it more if it were. [25 Nov 1992, p.E1]

If the film has any value at all it's as an example to illustrate the point that even a mediocre horror movie requires a certain amount of inspiration. At least a sense of fun, a little life and enthusiasm. Dr. Giggles is put together strictly by the numbers. It aims low -- at the floor -- and misses. [24 Oct 1992, p.C3]

A junior version of "Fight Club," only with no movie stars and different moves.

Badly made, badly acted and badly written. [07 May 1994, p.E3]

If one ignores reason, High Heels hums along well enough as a crime caper.

Daniels has the talent to make a genuinely complex horror film. What was “Precious,” if not a horror movie made all the more chilling by its lack of supernatural elements? But for “The Deliverance,” Daniels simply dusts off the same crab-walking, veins-a-popping demon moves we have seen a million times.

For all the movie’s modest but palpable virtues, The Exorcist: Believer has one problem it cannot solve: No one has come up with a new way to do an exorcism.

A clever, atmospheric romantic drama that lacks something.

The action sequences are just as ridiculous as the romance parts, but at least James seems comfortable with the pratfalls and gross-out scenarios.

The movie is 105 minutes long but seems about 45 minutes longer, with uneventful stretches and at least three sections where the action stops for musical interludes featuring goopy pop music.

UglyDolls is a mind-numbing, low-rent version of “Toy Story,” with saccharine songs and a plot with echoes of, no kidding, the Holocaust. If you’re under 10, you might like it.

The presence of Washington lends the picture a much-needed dose of authenticity. But in the end Virtuosity is disconnected and uninvolving, despite -- or maybe because of -- a climax that comes in three distinct waves. One section seems to be a half-hour sound-and-light show.

Basically, The Gunman is a movie that asks audiences to sympathize with the equivalent of Lee Harvey Oswald — that is, an Oswald who definitely did it. Oddly enough, it succeeds, partly because the moral climate it presents seems so confused, but mainly because of Penn’s particular aura of irascible integrity. He’s the most irritated action hero since Harrison Ford.

A harmless and amusing summer comedy.

Dreary movie.

Another art film that's more pretentious than it needs to be.

Playful and energized enough to keep an audience guessing.

Down Periscope makes a surprisingly successful launch, with plenty of brisk one-liners and a promising set-up. But after that auspicious opening, it sinks.

Just an odd mess of a movie. That you feel anything at all is a tribute to the acting talent of Dinklage and Goggins, who occasionally make us care.

Audiences looking for a nonstop laugh riot may be disappointed, but the big laughs are there, and they benefit from the movie's underlying sincerity.

This is a film that wears its anti-tech bent like an old James Bond wristwatch.

Wonderful characters keep the movie from gagging on sweetness.

This is one light comedy whose seriousness, hours later, lingers in the mind.

The Sitter is not (Funny). At all. By any definition, although an argument might be made for the alternate meanings "perplexing," "deceptive" and "slightly unwell."

As a first-time director, Falcone has trouble maintaining a specific tone - the movie wobbles back and forth between sentimentality and silliness, sometimes even within the same scene.