Within the bloodshot-eye perspective of their other stoner comedies, it’s bluntly funny and ever-so-slightly sweet.

A faithful remake of RoboCop would be timely. Instead, the producers of this new version have retreated back to the lab, concocting a creaky hybrid of “Frankenstein” and “Call of Duty.”

Saint Laurent was a truly mythic figure. It’s a shame that Bonello’s film doesn’t do him justice.

The derivative script and skimpy effects don’t convey either the power or the problems of being a young witch.

These days, it’s tough to find a comedy that even aspires to sophistication. The Intern entertainingly fills that slot.

Ultimately, however, the only real problem with the new version of "The Getaway" is that Alec Baldwin and Kim Basinger just don't seem very believable as tough professional criminals. You just know they are only a shower and a manicure away from dinner at Spago. [11 Feb 1994, p.3E]

Starved of sufficient comedy or drama, The Age of Adaline is a pipsqueak.

96 Minutes is a mere introduction to Sociology 101, but it's brisk enough to rustle the reading list and keep the conversation alive.

Another “Jurassic” flick wasn’t necessary, but it’s a fantastic ride all the same.

Garfield (“Hacksaw Ridge”) brings his usual boyish charm to the proceedings while allowing for the occasional burst of precisely calculated angst. Foy (Netflix’s “The Crown”) arguably has the more difficult role, hinting at Diana’s inner doubts while maintaining a sunshiny demeanor.

For a while in the middle, as tentacles began snaking through the ship, the shock value is considerable. But director George P. Cosmatos lets the suspense slide away in ridiculous dialogue and confusing action. By the end, the movie is terrible rather than terrifying. [17 Mar 1989, p.3F]

If you can’t guess that the whole thing ends with a big dance number, you’ve been snoozing in your samosas.

Three Men and a Little Lady is by no means great comedy, but it is enjoyable nonsense, significantly better than the original movie with its overdose of cutesy-poo gags. [25 Nov 1990, p.7C]

Allen has been criticized for leaving some of the plot lines up in the air and several characters in the lurch. But he seems to be making a point: Neat Hollywood endings are as phony and dangerous as Cristal's ramblings.

Pregnant with possibility; it's the delivery that disappoints.

Valerian has some cool visuals. But there’s more to science fiction than pretty pictures.

The documentary Live from New York is a separate thing. It doesn’t try to be wild and crazy, and it can’t be comprehensive. Like a land shark, it’s an uncomfortable hybrid that bites off more than it can chew.

The elements never quite combine into a cohesive compound, and a lot of the dialogue - particularly Calamity Jane's - might have worked on the page, or even on the stage, but has a phony theatricality when uttered by people with cameras in their faces. [01 Dec 1995, p.3E]

Despite the crass book promotion, the overlong film is harmless romantic fun that's well played.

The verdict on Snitch is that Johnson has attempted a career detour on a street marked Do Not Enter.

All that complexity backfires at about the midpoint, leaving viewers with a standard yarn about a popular guy who makes a grossly insensitive wager after his trophy girlfriend drops him. After that, it is all a case of "been there, done that." [29 Jan 1999,p. E3]

Skyscraper clearly aspires to be a 21st-century update of “Die Hard” (1988), one of the best action thrillers ever made. Instead, it’s just another film that squanders the movie-star charisma of Johnson, who should consider lending his box-office clout to more worthy projects.

You can tell by some loose threads and hurried workmanship that God’s Pocket is a knock-off, but it’s so stuffed with value, it’s an offer you can’t refuse.

The film is directed with dark stylishness by Katt Shea Ruben from a screenplay she wrote with the film's producer, Andy Ruben. [29 May 1992, p.3F]

The Woman in Gold works, largely because of the odd-couple chemistry between Mirren and Reynolds. It just goes to show that broad strokes are appealing when they’re in the right frame.

The sweeping scenery, made even more thrilling by Basil Poledouris' score, makes up for the slow moments. And Selleck and Rickman are equally convincing in their respective roles as the undisputed good guy and bad. [19 Oct 1990, p.3F]

It's smart, heartfelt, handsome and just mutated enough to sustain interest in a specialized subject.

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.