Smith turns in a subtly layered performance that suggests the hurt behind Kathy's callousness. And O'Donnell gets to the heart of a man who realizes too late that he's made unfortunate choices.

There are three sides to most love stories: his, hers and the truth. But on London's Fleet Street, the three sides are his, hers and the tabloids'.

The Rescuers Down Under is further evidence that the Disney organization has regained its magic touch with animated features. [16 Nov 1990, p.3F]

Doggedly indie but unpretentious, Begin Again is one of the best movies I’ve seen about the music industry and the ways it changes people whose paths diverge.

It’s an interesting showcase for Carell, who turns in an uncharacteristically low-key but heartfelt performance. Cranston is more than a bit over the top, but Fishburne balances him out.

While the student travails explored here are time worn and insipid, Croghan looks at them from a fresh perspective and with humor. The combination makes this debut film more than just another been there, done that experience. [25 Apr 1997, p.03E]

While we await the definitive documentary about the glut of garbage, Waste Land reduces this global catastrophe to touchingly human scale.

It’s an enigmatic and austere film from a region where political, sexual and religious repression are as stifling as the sooty air.

Lutz created more than just a mystery yarn, and Don Roos' screenplay and Schroeder's direction take the story even further and, of course, make it a lot more visual. [14 Aug 1992, p.3G]

Despite accusations of nearly succumbing to spotlighting beefs over beats, the film comes off as an honest representation of a great group that's not to be forgotten.

Like its neo-noir kin across the pond, The Guard is violent, profane and funny. But McDonagh is interested in more than mockery.

Spectre isn’t bad — just slightly disappointing.

It’s not necessary to be a jazz fan to get lost in this poetic and poignant film.

The efforts to stay true to the spirit of Schulz are worth a happy dance for kids and adults alike.

Apatow still hasn't set the table for a meaty drama, but making us laugh is a piece of cake.

Sean Penn is excellent as a lawyer who gets in way over his modish curls, but the movie belongs to Pacino, who gives a remarkably controlled performance as a Wise Guy desperately trying to get smart. It's one of Pacino's best roles. [12 Nov 1993, p.3G]

As potential blockbusters go, Batman v Superman is neither as stupid nor as stupendous as it might have been.

May be one of the most fun-free, angst-ridden teens we've seen on the big screen in a long time.

Egoyan doesn't flinch from exploring the dark side of curiosity. That includes dealing with sexuality in a way that might make some moviegoers uncomfortable.

World War Z, based on a novel by Max Brooks and directed by Marc Forster ("Quantum of Solace"), has a relatively plausible perspective on mass catastrophe. It deserves comparisons to Steven Soderbergh’s brainy “Contagion.”

A bit slow to get started, and it's nowhere near as funny as "The Hangover." But it'll make you smile.

Despite its flaws, Little Odessa haunts the memory. [30 June 1995, p.3G]

What the film has going for it is a terrific performance from Weisz, who renders Alice at once sympathetic and enigmatic.

Cameos from actors portraying Little Richard, Mick Jagger, Frankie Avalon and Alan Leeds add up to some fun.

I Feel Pretty takes a while to get going, but it eventually finds its groove and proves to be an amusing showcase for Schumer’s talents.

Perhaps best appreciated as a character study -- about a character some moviegoers might prefer to avoid. Still, it's a smart, funny film that flirts with the edge.

As opposed to the "gentlemen's clubs" in sinful cities like Las Vegas, the Crazy Horse attracts couples.

The climax is a little jiggy, almost stupid, given how sharp the dialogue and situations are until that point. It's as if Baumbach just ran out of steam. But given how much there is to like about the movie, its flaws are forgivable. Yes, it's a bit slow in places and talky but it's also funny. And much o f the humor is subtle and smart and nicely calibrated. [19 June 1998, p.E3]