Keanu is an uneven but frequently hilarious comedy that relies heavily on the appeal of Key and Peele.

It's got a grown-up artfulness, but Winter in Wartime could become a lot of boys' favorite movie.

If you've ever seen anything like A Town Called Panic, you either made it yourself or you dreamed it.

A high-wire act that could crash if the actors were out of sync, but under this big top, the never-better Segel keeps everyone aloft.

The first half of the film dusts off some kitschy picket-fence footage and alarmist news reports to invoke an era when homosexual acts were illegal in 49 states, and gays were subjected to arrest, electroshock and sterilization.

This slice of life is heartening because of its humanity; utter honesty doesn't have to be depressing. [12 Aug 1955, p.3D]

The film will be of particular interest to foreign-policy wonks, but it also plays well as a drama about the limited ability of any president to have a lasting impact.

When a man whose wife was killed by cultists invites us to laugh at life's absurdities, the particulars are almost incidental.

He might be guilty of showboating, but De Niro's knockout performance is a declaration that the star of "Raging Bull" isn't ready to hang up his gloves.

You will get enough laughs out of "The Gold Rush" to make the picture worth while. [14 Sep 1925, p.17]

Ready to Wear is loads of fun, witty and audacious, but you have to be on your toes to follow a serpentine script (by Altman and Barbara Shulgasser) that cleverly interweaves 10 or 12 plot lines. [24 Dec 1994, p.3F]

Newcomer Anna Chlumsky shines in My Girl, a movie sure to hit the same sort of high note among pre-teen girls that Home Alone hit among pre-teen boys. [27 Nov 1991, p.3F]

The Great Gatsby is both swooningly romantic and giddily energetic.

The tone of Nine Months bounces back and forth between farce and sentimentality, and it doesn't always bounce true - the final screaming scene in a new-moon crazed hospital delivery room, for example, goes on way too long. And yet, when it is funny, which is fairly often, Nine Months is very funny. Occasionally, it's hilarious. [14 July 1995, p.3E]

What animates this dramatically constrained film are the lively words and the vitality of nature. An image of butterflies blooming in a bedroom is Keats' worldview in miniature.

Director Susan Seidelman becomes heavy-handed on occasion, but mostly the comedy works to perfection. [10 Dec 1989, p.7DZ]

Notwithstanding its storytelling stumbles, Sleepwalk With Me points in a positive direction for this likable comedian's career.

Like the fairground ride for which it’s named, Wonder Wheel is entertaining but not enlightening.

With a child’s perspective on war, Lore deserves comparisons with “Empire of the Sun” and “Hope and Glory,” and with a feisty female protagonist it stands virtually alone.

Best appreciated as an exercise in style. Based on Martin Booth's novel "A Very Private Gentleman," the film establishes and sustains a mood of suspense, but Corbijn seems only minimally interested in conventional thrills.

The movie goes on a little too long, partly because of one of those we're-not-finished-yet second endings that seem obligatory these days. But, as mindless comedy, the movie is highly entertaining. [10 June 1994, p.3H]

Depp shows again that he truly understands Thompson by delivering a nuanced performance that is remarkably different, but subliminally similar, from the wonderfully outrageous turn he provided in "Fear and Loathing in Las Vegas."

During a summer with the usual transforming robots and young wizards, this chilly flick is a bit of a break, and there are worse options than letting this Orphan in the door.

Draft Day isn’t quite a comedy, but it’s got a similar kind of flow that makes it as easily consumable as lite beer.

Cooke is particularly impressive, imbuing Amanda with a chilling misanthropy. Taylor-Joy plays Lily as a bit too sympathetic, but she nails the character’s cluelessness. And Yelchin, who died in 2016 at the age of 27, turns in a performance that’s as quirky as it is memorable.

Jenison, who had never painted a thing in his life, does indeed produce a beautiful work, but we should never forget that Penn and Teller are professional bamboozlers, and their attempt to re-frame the definition of genius might be nothing but smoke and mirrors.

This showcase for Wiig is sufficiently absurd to make real-world parallels laughable.

If you like to have your mind blown, this movie will do the job. [10 Mar 1992, p.4D]