Jack Frost is loads of fun, with a warm, fuzzy message, a rare live-action movie that can be enjoyed by children and adults alike. [11 Dec 1998, p.12]

We are "there" although Detroit squanders that sensation on revulsion, a gut punch needing to take more shots at our heads.

The movie's strength is Sheridan's knack for vivid characterization through little more than casual remarks and consistent voices.

The movie has its heart and humor in the right place, and there's no "Shame" in that.

The most satisfying portions of Saving Mr. Banks occur when the movie adds pinches of salt to the spoonfuls of sugar making this medicine go down.

Screenwriter Bert V. Royal takes the oldest adolescence hook in the book - losing one's virginity- and turns it inside out.

Cohen and Pogue never get a firm grip on how they wish to play this movie. Myth or mirth? Terror or tease? Draco's fire-breathing aim is mercifully off the mark when buzz-bombing villages, but microwave-sharp when it comes to heating dinner. [31 May 1996, p.3]

Guardians of the Galaxy is fun but forgettable, or perhaps Gunn crams so much onto the screen that memory is crowded out. Definitely worth a second look, just to figure out what in the name of Buckaroo Banzai is going on.

Big Hero 6 is second-tier Disney/Marvel entertainment, fine for a day out with the children yet doesn't seem enough, after the creative advances of Wreck-It Ralph and the emotional heft of Frozen.

Good performances and flashes of goose-bump-raising wit, but one is left wondering what all the fuss was about. [16 Sep 1994, p.12]

21 and Over remains enjoyable for what it is and all it cares to be, which is nothing any respectable movie critic should recommend, and I'm down with that.

The man's goodness and his support team's devotion are quickly obvious; Gleason is nearly two hours long. Tweel could get to every uplifting turn his movie makes a bit sooner.

Maverick has everything going for it except a sense of cinematic adventure and a stopwatch. [20 May 1994, p.6]

Taylor's movie is overly episodic, but a number of those episodes are marvelous.

I’m stunned by where this movie dares to go with a star like Lawrence (and female co-stars) at a time like this, nearly as much as I’m impressed by Red Sparrow’s total investment in such trashy, grindhouse affairs while maintaining a veneer of high-toned quality. Blood lust and carnality at its classiest. Guilty pleasures as charged.

The performances are constantly spot-on, especially Scott during a wonderfully written rant during a group vacation.

The Amazing Spider-Man is fun, as any summer movie amusement ride can be. But it left me feeling the same as Raimi's version; that groundwork has been dutifully laid for a winning franchise in need of a few surprises.

Eastwood keeps the tension humming from his director's chair and contributes a little too much comic relief, but gives Costner an eye-opening, image-shattering showcase that adds a sheen to his often-criticized acting career. [24 Nov 1993, p.6B]

Starting with a mountainside rescue setting up Ray's bravery, through cities ruined and a tsunami leveling San Francisco, San Andreas is gnaw-your-knuckle fun. Which is the roller coaster conflict that comes with the disaster movie genre, the closeness to horrific reality that attracts millions yet repels a sensitive few.

Concussion is essentially Erin Brockovich with shoulder pads, a crowd pleaser built upon an issue long ignored.

Chuck is a character study of fleeting fame in prolonged decline, anchored by Liev Schreiber's brutish charisma in the title role.

To borrow just a few of Aleichem's words that are ingrained in Jewish culture: "It could be worse."

Lion can't avoid seeming lesser in the second half after Davis' mesmeric first but it's solid storytelling nonetheless. Bring the Kleenex.

Bad Words isn't an entirely auspicious beginning to Bateman's career behind the camera, but a riotous performance suggests what a wonderful louse he can be.

Movies about cooperating Africans and Americans often take a condescending risk of great white saviors making everything better for poor black folks. The Good Lie isn't that sort of movie, except in its marketing.

The Campaign is below-the-Beltway humor, stretching obvious targets to raunchy extremes.

It's a movie of terrific performances and rousing comeuppances, with a side order of corn pone for the soul.

Directors Pierre Coffin and Chris Renaud craft a fun stretch run, wrapping the story with warm, fuzzy funnies and nothing to suggest a sequel, which is probably wise.