The documentary ends on a hopeful note, as Indians themselves have taken control of their image.

It doesn’t help that Weisz and Claflin have zero chemistry, and both come across as miscast. She lacks the aura of mystery that her character requires, and he’s woefully low on the charisma required of a romantic hero.

Strikes an uneasy compromise between liberty and justice. It marches at an efficient pace, but there's too much collateral damage to believability.

Although there's a skeletal story, A Cat in Paris evokes a mood instead of a moral. Like a cat nap, it gives us a brief, refreshing dream with little to remember.

The fact-based Denial is a well-crafted and skillfully acted drama about standing up for the truth, regardless of how challenging that might be.

Some may scoff when the boys exhibit traits and interests derived from the biological parents they never knew, but The Other Son is such a disarming feat that cynics will get left at the checkpoint.

Out of the Furnace is hot air.

Second verse, not as good as the first.

The acting is solid, but the story sags from time to time, and it's very predictable, though when it's funny, it's very funny. [21 Nov 1992, p.7D]

In his affect and attitude, he’s refreshingly free of bluster. And it’s almost unbelievable that a man of his power and prestige insists on maintaining such a modest lifestyle.

A stylish but empty spy flick, redeemed only by well-executed action sequences.

Even more than most versions of Anna Karenina, this chamber piece is heated by two combustible characters, not by the winds of war and peace.

This is an entertaining, sexy, cleverly constructed thriller. [09 Mar 1990, p.3F]

A bait-and-switch comedy. It poses as a naughty "no-mance" about friends who use each other for casual sex, but at the moment of truth it goes limp.

Gilchrist ("United States of Tara") is immensely appealing as a kid who's just a bit too wrapped up in himself to grasp that perhaps his problems aren't insurmountable.

Summer Wars has engineered a truce between the familiar and the fantastical.

To keep serious cinema from going extinct, this could be sold as "The Hunger Games" cross-bred with "The Lorax," but it's better and more mature than either of those hit movies.

Fans of the franchise will greet Les Misérables as a feast for the senses, but the rest of us are left with crumbs.

Hot Tub Time Machine isn't a good movie, but like a bubbling bath it keeps pounding at us until our resistance wears down.

The movie won't stand up to much analysis, but it delivers a fair amount of electricity, and Gere plays his nasty character with a great deal of relish. Internal Affairs is fun, in a rather perverse way. [11 Jan 1990, p.3E]

It’s a measure of the movie’s success that we never stop to question how or when the trickery is employed.

The dialogue still sparkles, but the story is a bit weaker than the previous editions. [02 Aug 2005, p.E1]

THE MAN who would trade his fiancee - but just for the weekend! - for a $65,000 gambling debt may be rather sleazy, but it probably wouldn't raise many eyebrows in Las Vegas, where sleaze and the concept of woman-as-object have marched hand-in-hand for many years. ''Honeymoon in Vegas'' continues those precepts, and does so woefully, with dumb writing, ordinary direction and performances by Nicolas Cage, Sarah Jessica Parker and James Caan that are so awful as to be mind-boggling. [28 Aug 1992, p.3F]

Green Zone can't make up its mind whether it's "The Bourne Insurrection" or "Hurt Locker: The Prequel."

The River Wild is an exhilarating thriller, and Streep is memorable as a former whitewater river guide who has to summon up all of her old skills to save her life and the lives of her husband (David Straithairn) and son (Joseph Mazzello). [30 Sep 1994, p.3G]

The Jungle Book is, in a sense, a movie for children, but it is one that adults should love as well. [23 Dec 1994, p.3F]

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]

With a greater emphasis on sex than violence, Spring Breakers is a more enjoyable guilty pleasure than “Natural Born Killers” and just as acute about our cultural devolution. For all its seeming stupidity, its masterstroke is making us complicit in the corruption of its young stars (who include the director’s own wife).