As a drama about coping with hard times, The Company Men doesn't come close to being as sharp or entertaining as "Up in the Air" - which starred Wells' "ER" associate George Clooney.

Directors John Requa and Glenn Ficarra were weaned on earthy comedies like "Bad Santa," and every moment of mature insight in Crazy, Stupid, Love is answered by a scene of formulaic farce.

Since the movie never really gets very far beneath the skin of these immensely talented people, their battles and her final victory seldom rise above the level of moderately entertaining melodrama. [11 Jun 1993, p.3G]

Hits most of the markers of a flashback film but not enough of the beats.

The movie is a little too long, and sinks briefly into the doldrums when it turns overly serious in the last half hour or so. But Little Big League recovers nicely, and the ending is terrific. This is one of the few recent movies that parents and children would enjoy together. [03 Jul 1994, p.16C]

Gordon-Levitt is a victim of his own success here. He plays such a convincing cad that we don’t believe or invest in his redemption.

Extract has some flavor, but the comedic kick is diluted by flat characters and a thin story.

AFTER the first 10 minutes or so, there are few surprises in The Package. But director Andrew Davis, given a suspense script with little actual suspense in it, keeps this espionage tale moving right along, and Gene Hackman, as usual, is a plus. The result is a moderately entertaining if predictable action film. [25 Aug 1989, p.3F]

Although this sober film spares us some of the grim, survivalist details, the harrowing adventure from a girl's perspective is so compelling that Julia's simultaneous sleuthing seems like an unnecessary distraction.

July is a provocative and honorably independent filmmaker, but given the meager rewards of investing our time, The Future wasn't worth the wait.

Ultimately a movie that could have been a little jewel is unpolished.

That's right - this is an exorcism movie that those who actually saw "The Exorcist" in theaters can get into.

Working from his own screenplay, director Brian Helgeland clearly has a feel for the Krays’ criminal milieu, but it’s not long before repetition sets in. There’s only so much brutality that even the most bloodthirsty audience can tolerate.

A lot of care went into crafting the handsome production but not enough into making the handsome hero come alive.

As a performer, Lister-Jones acquits herself well on both the comedic and melodramatic fronts. And the scruffily charming Pally comes across as a hybrid of Seth Rogen and Paul Rudd. But Armisen’s weirdo shtick is way past its sell-by date.

A generally entertaining schmaltzy melodrama, as long as you are not overly reverent about traditional versions of the Arthurian legend and can get over William Nicholson's sometimes clumsy dialogue. [07 Jul 1995, p.3E]

It does induce a few giggles like cheap champagne.

This broadside against sharia law lacks the finesse of an import, but it's effectively melodramatic.

A Knight's Tale succeeds as light entertainment if not as historical record. [11 May 2001, p.F1]

I Am Love is easy to savor but tough to swallow.

Although this stylish and ominously paced vehicle starts with a full itinerary, it never makes a vital connection.

The fiery finale is good enough to leave the legions smiling. But when a movie is expected to lift an entire industry, "good enough" shouldn't be good enough.

The movie is enjoyable if it isn't taken too seriously. Geena Davis sparkles as a TV reporter who is among those rescued, Chevy Chase is amusing in an uncredited role as a TV executive and Garcia is, as usual, both charming and believable, in a movie-star kind of way. Hoffman is always interesting to watch, even when, as in this movie, he reminds us a little too much of some of the other roles on his resume. [04 Oct 1992, p.12C]

In skewering the neuroses of New York bohemians, Durham has left us too little to care about.

The double deception of suppressed personality and repressed sexuality could have been the basis for a rewarding character study, but after Albert meets a kindred spirit and dares to dream of a happy ending, her denial and naivete become too much to swallow.

Draining most of the blood, sweat and tears from a true story, this music-minded movie capably covers a song we’ve heard a hundred times before.

To their credit, the creative team has retained the handmade look and unruly spirit of Maurice Sendak's bedtime fable; to their discredit, they haven't added enough narrative or emotional dimension to make it an effective movie.

Working from a screenplay by Susan Coyne, director Bharat Nalluri maintains a pace that brings to mind a wagon loaded down with too many Christmas trees. Though the movie has a great look, it’s short on storytelling magic.