It's a breezily cheerful and affectionate send-up of the contradictions of California chic.

While visually lush and inviting, this insular, self-absorbed film is more a violation than a celebration of the lives of two of literatures foremost sensualists, Henry Miller and Anaïs Nin. Little of Miller’s boisterous, anarchic spirit makes its way into this film. Nor is its superficial handling of Nin’s theme of a woman’s self-realization likely to satisfy her admirers.

This second feature by New Zealand's Jane Campion replaces Sweetie's outre style and sense of character with a quieter and seemingly more conventional approach, but without relinquishing the filmmaker's solid grasp of the offbeat, the feminine and the feminist. [12 Jun 1991]

This film debut of the carapaced comic-book heroes features solid animatronic effects and a straightforward approach to superhero adventurism that should appeal to young Ninja Turtle fans, who should be pleased to see the terrapins brought so faithfully to the screen. However, a long-winded plot, broad characterizations and barely adequate fight scenes will prevent Teenage Mutant Ninja Turtles from generating any breakthrough business.

The movie displays an almost preternatural disregard for women's feelings — call it Pygmalion, with a heavy accent on the first syllable — but the comedy is so slickly delivered that audiences may be content with chuckling over its polished surface charms.

The fitful development of the script aside, the movie is dominated entirely by Freeman and Tandy, who manage to retain individual star-quality while acknowledging the other's presence.

Credit first-time director Jeremiah S. Chechik for his sure-handed rein on Christmas Vacation's polar opposites of sentimental and satirical sides. It makes for a smooth-sledding comedy.

Mainly Bernie's is good old, knock-down slapstick with just the right dose of cruelty thrown in.

Any way you judge it, Thing reaffirms Lee's position as a filmmaker with audacity, courage and ideas.

This Batman is a stunning achievement, especially through the incredible and unique visualization of director Tim Burton. The film may be disappointing to those expecting a campy cartoon, however, although the more dramatic stylization of this version is its strongest asset.

It's Costner's eye-on-the-ball exuberance that carries Dreams past its often mechanical aesthetic paces.

Say Anything is an easy film to like. Ex-rock journalist Cameron Crowe, known for two screenplays about teenagers caught up in the fast lane, has written and directed (for the first time) a surprisingly gentle comedy about teens that concerns itself with values and love.

Most of the laughs seem unintentional and come too late in the movie — after several reels of serious build-up — for the audience to adjust to its tongue-in-cheek qualities. Making a good horror-thriller, or even a good horror-comedy, is not child’s play, as this schizoid film all too unfortunately proves.

Coming to America is the filmic equivalent of using a Maserati to go to the corner grocery store — Murphy's colossal comic gifts and Landis' countercultural sensibilities are largely wasted, never pushed to the floor in this idling, curbed comedy.

Although one need not have graduated from a weekend screenwriting seminar to tell where the story is headed, Big is just plain funny and wonderfully goofy throughout. Again, while certainly not a new story or even a new theme, Big is done refreshingly well.

Driven by director Tim Burton (Pee Wee's Big Adventure) and his fanciful imagination, the film is colorful, delightfully deranged and endlessly inventive — a grand-scale funhouse that can be enjoyed by children of all ages.

Hughes' savvy notwithstanding, the appeal of Planes is due to Martin and Candy's comically controlled, ever-ingratiating performances.

While far too much of the film is staged discussion and smug political jousting, there is savage and lethal black irony.

Light and likable, with hearts unabashedly all over its sleeves, Roxanne is a winning romantic comedy whose appeal should cross age barriers and backgrounds — giving it an across-the-board promise.

Structurally, Predator is a classic behind-enemy-lines/buddy movies. Nothing much new, just well done.

Unfortunately, after a terrific, deliciously devious first hour, this sophisticated, comic sex battle soars out of control, blown by its own creative excesses.

Harry and the Hendersons is a disappointment.

A combination of exposé on Air Force experiments with chimpanzees and cuddly pet story, Project X should fly high as family entertainment.

The atmosphere, the buddy stuff and the flashy setting don't make up for the fact that the main story is too distanced throughout much of the movie. Further diluting the film's intensity is the scene structuring; far too often lame expository scenes serve to advance the plot or explain the backstory.

Cameron isn't as concerned with scares or atmosphere, the staples of traditional horror films, as he is with setting up difficult situations for his characters to get out of, leaving audiences deliciously on edge.

A disastrous send-up of James Bond movies that featured KISS' Gene Simmons as a cross-dressing villain. [15 Feb 2016]

At its best Ferris Bueller is a free-spirited romp, a devil-may-care respite from grueling dailiness.

Though the farce has some lively moments and Pisano’s expressive performance exudes a crude charm, the picture is uneven as a work of entertainment.