Two fresh performances slip through the cliches of this hockey-player-meets-figure-skater romantic comedy. But for some viewers, that may not be enough. [27 March 1992, p.24]

Someday, someone will pair up Johansson and Tatum in a better movie. In the meantime, watch this one with low expectations, and dream.

Snowtime! is by turns ribald (there’s a flatulent dog), boisterous (there’s charging through the snow with wooden swords wildly waved), tender (there’s a boy grieving quietly for a father killed in a real war) and, yes, tragic.

It may not add up in the end, but it's fun while it lasts. [01 Oct 1993, p.D14]

Rockwell and Kendrick, both of whom can really sell this film’s brand of laid-back quirk, keep things lively.

Ultimately, all we come away with is a few cheap laughs at online culture, which dates Love Me to its own time and place, an artifact not even of now, but the recent past. This love story isn’t futuristic at all.

The Lodgers is never particularly scary, or even logical, but it’s always gorgeous to look at; you can see where it’s going, but you might not mind watching it go there.

While Poirot is always witty, few of the other characters are. Michael Green’s screenplay often feels weirdly detached, like we missed some crucial early scenes that tell us why we should care about these people. All that said, it’s no great hardship to watch Death on the Nile; it looks pretty, feels pleasantly old-school and is over within shouting distance of the two-hour mark.

It’s a long sit, but a day later I find myself still thinking about Chan’s quiet, mesmerizing presence at the film’s center, and how Zhao had the confidence to let that performance speak so softly. It’s a different kind of superhero movie; not to everyone’s taste, but made for us all.

Luckily, the dull spots don't last long. The comedic snowball that is Housesitter melts a bit as it rolls, but occasionally it smacks the bull's-eye. [12 June 1992, p.24]

A cheerily uneven but enjoyable adaptation of Agatha Christie’s blockbuster novel.

While the film’s execution seems expert on the surface, the internal narrative design is unfortunately ham-handed and woefully dull.

It’s arresting, but the rapid shift in tone could give one whiplash.

It’s somehow only fitting that with Scarlett Johansson in the lead role, Ghost in the Shell leaves you with the feeling that something has been lost in translation.

This final installment finds Soderbergh and Tatum toying with audience expectations to disappointing results. There are a few flashes of the original magic, but it’s lacking in the energy that made the first two movies a thrill.

The blend of Johnson’s laid-back hero-dudeness and Hart’s whippet-fast comic timing should have been good fun. But somebody, alas, had an idea, though not a good one: Make Johnson the comedian and Hart the straight man.

Every plot twist is easily anticipated...The ending hints at the possibility of a sequel, but that’s a prospect that leaves one cold. As far as “Demeter” is concerned, enough is enough.

It’s all quite wistfully romantic, and mostly winningly so, despite the sometimes wise-way-beyond-their-years dialogue and not always plausible plot.

It’s odd that Guadagnino clearly wanted to make a movie that people would talk about, but doesn’t seem quite sure of what he wanted it to say.

A strangely inert film that is leisurely enough in pace for Seagal to conveniently foil one bad guy at a time until everyone has been disposed of. Ultimately, we're left to rely on pyrotechnic razzle-dazzle to thrill us, which, until the final train debacle, is modest in scope as well. [17 July 1995, p.E3]

While it’s often great fun to look at, “Crimes of Grindelwald” fails at what should be Rowling’s great strength: storytelling. Three more to go, and an infusion of magic is desperately needed.

The Last Boy Scout is no worse than Lethal Weapon, and it's slightly more tolerable than Hudson Hawk. The action scenes deliver, the storyline is efficiently handled (if utterly unoriginal), Wayans is an appealing foil, and Willis' wiseacre personality fits the character he's playing. [13 Dec 1991, p.35]

Thanks to McKinnon, “Spy” is a fun summer picture that is truly, weirdly special.

Part of the problem with "Fallen" is the relentless dumbing down of Nicholas Kazan's script. [16 Jan 1998]

The action, aside from the cloudy 3D, looks impressive (particularly the destruction of the Sydney Opera House), and X-Men: Apocalypse moves along tidily, but you watch thinking that all this used to be a lot more fun.

None of this is especially promising or, frankly, funny. In fact, for much of its length, “Despicable Me” is painfully unfunny.

What gives Betsy's Wedding distinction is the writing and casting of an initially peripheral figure, an unnervingly polite young gangster played by Anthony LaPaglia, a television and off-Broadway veteran making his big-screen debut. [22 Jun 1990, p.25]

[Hillcoat’s] an expert in creating and sustaining gut-twisting tension. Good qualities all, but used here in the service of a story that is truly unappetizing.