A scene involving wolves upset by Seal’s singing is worth the price of admission all by itself.

As a critic who complains about painless and brainless action movies, I hoist a glass of mead to the men and maidens of Ironclad.

Certain Women requires patience from the viewer and isn’t for anyone, but it’s a film of quiet and lingering beauty.

Clarke and Claflin both turn in acutely human performances, rounding out their characters and sharing palpable chemistry. At the risk of sounding very British, it’s all lovely.

Overreaching fits of melodrama, occasionally stilted dialogue, and performances by Gooding Jr. and Howard that are mostly a series of serious faces can't keep the shiny Red Tails from taking flight.

It’s an old-fashioned tale of an individual overcoming the odds — only in this case, that individual happens to be a horse.

In the end, children will enjoy Inside Out for the fun colors (each emotion is conveniently color-coded) and entertaining adventure, and will end the movie cheering. Grown-ups are more likely to watch with their own emotions on their sleeves and wind up sniffling.

Proving that the studio should stick with fairy tales and myths instead of literature and history, Hercules is presented as a lively, animated feature with whiplash-quick one-liners and a heavenly score by the inspired team of Alan Mencken and David Zippel. [27 June 1997, p.3E]

In one of the most wickedly funny scenes in sci-fi history, Koba uses monkeyshines to bamboozle some gun-toting yahoos and scuttle the peace treaty.

Until the sci-fi switcheroo, the versatile supporting cast puts Gary in such a ridiculous light that we can’t help laughing at him. Then suddenly this subversive movie challenges us to laugh at our own assumptions.

James makes for a charismatic hero, and former “Saturday Night Live” star Sudeikis is a revelation as the steadfast Snyder.

Much like its main character, The Meddler exudes an irresistible charm.

Superbly acted, and a return to form for Tavernier, who guided jazz legend Dexter Gordon to an Oscar nomination for "'Round Midnight" (1986).

Exotica is a little hard to believe, but if it catches you, it holds on tight. [24 Mar 1995, p.3E]

Succeeds as both advocacy and entertainment by focusing on the family.

To the Wonder teeters between experimentation and incoherence. Does it deserve to be seen? Absolutely. Just be aware of what you’re getting into.

Dope is funny, slick and sharp.

Unsettling yet mesmerizing, The Witch is more of an art film than a horror flick.

Memoirs of an Invisible Man' is a generally entertaining bit of nonsense, a slick blend of suspense, comedy and special effects. [28 Feb 1992, p.3F]

The movie is best enjoyed as a minor-key operatic, not a coherent story. While Law bellows blasphemous poetry, his director orchestrates a noirish light show with a cockeyed rhythm.

Not many science-fiction films can accurately be described as poignant, especially those from the kitschy 1950s. But The Incredible Shrinking Man (1957) definitely qualifies. [26 Jun 2008, p.4]

Perry manages to pull it off here, coming off completely likable and real, never insufferable and fake.

Holland, working with a largely English cast, brings a different - European, perhaps - sensibility to the film, and I think it works. [13 Aug 1993, p.3F]

Director Roar Uthaug (“The Wave”) delivers a state-of-the-art popcorn flick that’s at its best when the focus is on the spunky Lara rather than the special effects.

With its mix of true-blood romance and full-moon madness, Let Me In should hasten the twilight of the twerpy pretenders.

What enriches the recipe is that no one is quite as cagey as they seem. Colin is officially thuggish, but he's a blinkered romantic. Archie is a mama's boy, Meredith is gay, Mal is impotent, and Peanut wears dentures.

With its excellent, offbeat cast, its sprightly pacing and its goofy tone, Tremors is the kind of movie that propels you out of the theater with a grin on your face. [26 Jan 1990, p.3F]

I still liked Marshall's movie version of Frankie & Johnny for many of the same reasons I liked his Pretty Woman. Neither one is a big picture, nor particularly realistic, and yet despite their shortcomings - and there are plenty in each - I left the theater feeling good. I also left feeling guilty about feeling good. [17 Oct 1991, p.4E]