A tasteless, vulgar, savage assault against everything that is good and decent in the Christmas season. I think you are going to like it.

The movie turns from good to great as the layers are peeled away and director Hahn provides an insider's look at the creative epicenter of the studio.

An empty exercise.

Color Out of Space is a trashy, ridiculous science fiction/horror film. It is silly, poorly written and, well, I liked it.

If you can still be entertained by a thriller that unabashedly borrows from others of its ilk and don't mind reading subtitles, you could do worse than District B13. It's over so fast, in a quick 85 minutes, there's scarcely time to get bored by the silly plot.

The picture, which marks the debut of Mexican film maker Guillermo del Toro, is a dull hybrid - a ponderous art film crossed with a vampire story. [06 May 1994]

But that’s also the movie’s charm, painting a world where all you need is talent, a little luck and a couple of shoulders to cry on when things get tough. It’s a stripped-down “A Star Is Born” — without the rehab and suicide.

Fans of this film will some day wear out their DVDs and Blu-rays playing that fantastic battle scene again and again.

Fortunately, the movie gets a huge lift from Johnson, who reappears in the second half of the film and rescues it from nonstop boys’ hijinks. It’s not enough to say the camera loves her. Put Johnson in a close-up and the rest of the movie disappears.

A small, independent comedy-drama that does a number of things very well. It does them all quietly. The scenes don’t swing for the fences. The emotional work is true, not pushed, and by the end, the movie ends up giving the sense of a world.

Truth or Dare is like a detective story. You try to infer the truth by looking between the frames. The picture we get of Madonna is a contrived one, but it's revealing anyway, because it's the one she wants to present. [17 May 1991, p.E1]

It’s amusing to see what Ozon is up to, but the central character and her problems remain simply matters of curiosity mixed with indifference.

Summertime is the first movie ever like Summertime, and on that basis alone, we should appreciate it.

Marketed as a romantic comedy, “Materialists” is a sharper, more thoughtful film than its genre would suggest. This is a story about perceived value and what its pursuit costs its characters — emotionally, physically and materially.

The movie is an enjoyable but flawed attempt at an epic story, with too much of the best action concentrated in the beginning.

Does about as good a job as any film could be expected to.

East Side Sushi is an engaging film that fits neatly into that category of foodie films and dreams.

If there’s hope in these films, it’s in a reestablishment of human connection. As father and daughter, Del Toro and Threapleton (daughter of Kate Winslet), establish real chemistry as people willing to change for the better.

Joachim Trier is a Norwegian filmmaker who made a strong debut in 2011, with his film, “Oslo, August 31.” Louder Than Bombs is his first English-language effort, and it’s disappointing.

In addition to being funny and endearing and having a lively script and lots of nicely observed performances - is something of an education.

Radical follows a predictable formula, and Derbez, a major star in Mexico whose last American projects were the Hulu film “The Valet” and the Apple TV+ series “Acapulco,” lifts the material with his typical vibrant energy.

As a piece of filmmaking, the trick of Operation Varsity Blues is that it provides first-rate entertainment even as it incites sputtering rage.

It exemplifies the same appealing style, which strives to show life as it's lived and people as they really talk and act.

A disturbing drama about the dehumanizing and humiliating effects of war.

In general, the humor is understated, excessively so.

One never knows where "Warm Water" is going and even though the film's objective feels a little fuzzy even at the end a parable on female sexuality? an ode to liberty? there's such a joy in the telling that it doesn't matter terribly.

A gentle comedy, offbeat but never cute, never lewd and never going for shortcut laughs that might diminish character.

The New Zealand feature Boy almost pulls off the trick of merging cartoonish humor and '80s pop culture with a story glancing at deeper family issues. The film has an appealing 11-year-old hero, but in the end feels half baked.