Seth Rogen is the Green Hornet. What else do you need to know?

It's not exactly aiming for the moon, but in a marketplace where surpassed expectations are as rare as unicorns, Despicable Me is delightful.

In such a bleak story, the redemptive ending seems rushed and unconvincing, but director Oliver Schmitz has sent us a timely dispatch from a forgotten corner of the world that is honest above all.

Harry Potter and the Deathly Hallows: Part 1 is slower and stranger than any of the previous films, simultaneously raising hopes for a haunting finale while dimming hopes for a magical one.

He's not in Mark Wahlberg's league, and 21 Jump Street isn't quite as funny as "The Other Guys," but by lampooning himself here, Tatum has bought himself a grace period to grow in.

Lethal Weapon 2, a sequel, is better than the first film, Lethal Weapon. Not only better, but far better, for the following reasons: Joe Pesci. Less (if not much) violence. Danny Glover doesn't try to be Bill Cosby at home. A screenplay that is funny. Joe Pesci. [07 July 1989, p.3E]

Fences is perhaps best appreciated as a showcase for the brilliant acting of Washington and Davis.

Point Break is a perfect example of the contemporary "B" movie. And, like a lot of the old B movies, those cheap thrillers of the 1940s and 1950s, Point Break has considerably more raw energy than almost all of the higher-priced products. [12 July 1991, p.3F]

Based on a true story, Crown Heights is a predictable but moving story of friendship and perseverance. Writer-director Matt Ruskin elicits strong performances that go a long way toward compensating for the film’s often languid pace.

It is, as it stands, a lavish creation. [13 Apr 1936, p.3C]

On a moral-justice level, we’d like to see this worm squirm a little more over his treatment of ex-colleagues before we let him off the hook to say that everyone else was cheating too.

96 Minutes is a mere introduction to Sociology 101, but it's brisk enough to rustle the reading list and keep the conversation alive.

Of all the films to come out the conflict, Afghan Star is the most provocative, because its message that people are essentially the same is a dubious, double-edge sword.

The macabre comedic undertones are reminiscent of a Coen brothers film like "Blood Simple." But a more apt comparison is to an obscure Canadian bank-heist flick called "The Silent Partner," in which teller Elliot Gould pockets some loot from thief Christopher Plummer. Both movies imitate an American idiom with a provincial accent.

Just misses living up to its name.

The Tree might have suffered from too much symbolism if not for writer-director Julie Bertuccelli's deft touch and Gainsbourg's appealing performance.

If we want a bigger picture, we’ll have to wait for God to green-light “Noah: The Next Generation.”

In the roll call of visually distinctive ’toons, Epic looms large.

Whereas "Chill" attempted to define a generation, "Lies" is more of a statement about the nature and limits of friendship.

Gerwig makes us want to believe that in a city where anything is possible, Francis Ha has the last laugh.

Some moviegoers will find the experience frustrating; others will be exhilarated by a film that’s far afield from the usual formulas.

Difficult to watch at times, Star Maps is imbued with enough raw humor and emotionalism that the overall result is gripping. [22 Aug 1997, p.3E]

It's the kind of movie that inspires word-of-mouth recommendations by speaking the international language of culture clash.

The most mesmerizing parts of the movie make up a tutorial about how the Muppets are made and moved.

With elements of a musical, a melodrama and a multicultural romance, Where Do We Go Now? is as hard to define as the crossroads region where it's set. But even without a clear signal, it sometimes seems miraculous.

When the smoke clears, heady Farewell stands tall among the movies that view the Cold War at close range.

It's smart, heartfelt, handsome and just mutated enough to sustain interest in a specialized subject.

Given the stormy milieu, The Yellow Handkerchief could have been a sordid slice of life or a maudlin metaphor. But the unhurried direction of Udayan Prasad and the unafraid choices of the sure-footed cast keep this character-driven drama afloat.