If you want to escape all the deadly serious fare of this pre-awards season, run to Walk Hard: The Dewey Cox Story.Why? Cox rocks. This rowdy spoof of music biopics is silly fun and often hilarious.

The flashbacks, functional at best, aren't really the problem. Interminable one-on-one dialogues between the two male leads are. [7 Apr 1995, p.03.D]

An L.A.-based story with more turns and curves than a Hollywood canyon.

Given the story's focus on religion and the intolerance that still rages in today's world, The Merchant of Venice remains deeply meaningful.

Dramatically, even a persuasive supporting cast gets Heaven only so far.

She has been compared to Lenny Bruce because of her incendiary topics, but Silverman's style, capitalizing on her innocent smile and good looks, is her own.

A raw and powerful suspense thriller.

Though the journey ends on some fun notes after a sagging middle, Galaxy never fully breaks out.

Bale's is a pitch-perfect, understated performance in this involving neo-noir thriller.

While just a jot less fun than its predecessor, Pitch Perfect 2 is a worthy sequel in tone, even if the story feels padded with a few too many montages.

Directed by Simon Curtis and written by series creator Julian Fellowes, the sequel is a charming and soapy new chapter filled with enjoyably dry humor (mostly courtesy of the fantastic Maggie Smith), some heartbreak, a dash of mystery and a history lesson from old-school Hollywood.

This isn't a polished work, but anyone who's ever spent time on the movie-making edge will recognize it as a true one. [28 Aug 1992, p.5D]

An endearing, occasionally sentimental story told with depth and substance.

Take out the cool retro tunes, neon everything and the formidable woman of action, and Atomic Blonde tends more bland than Bond.

How She Move has two key assets: powerful dance sequences and an emphasis on education.

Though energetic, daring and gorgeous to behold, this re-imagining of Tolstoy's classic tale lacks a viable sense of passion, holding the characters at arm's length and glossing over social issues.

Overall, this is a tart little toughie - within its limitations. Like 1987's The Bedroom Window, also directed by Curtis Hanson, it admittedly pales next to suspense classics it recalls. Yet on its own terms, it's a hefty cut above the norm. [09 Mar 1990, p.1D]

A warm and pleasantly diverting tale.

Cheri, like the character, is an entertaining bauble without much on its mind.

When it's good, Friends With Benefits is quite good - especially as it skewers rom-com clichés.

The special effects are pretty special for the most part, and the movie seems only about 10 minutes too long. [23 June 1989, p.1D]

This supernatural yarn is thoroughly engrossing until it loses its way about three-quarters in. It's as if the filmmakers didn't know how to resolve the mayhem, opting for silly over diabolical.

An equitably rude comedy about abortion, brazen by definition but also fairly droll. It's probably too schematic to reward more than a single viewing, but as a provocative one-time surprise it may become a specialized sleeper. [13 December 1996, p.4D]

Notable for the easy chemistry of its ensemble cast.

You have to love any movie in which Robert Mitchum sells trains in a toy store and Janet Leigh looks the greatest she ever did on screen this side of Jet Pilot. [19 Dec 2008, p.6E]

Les Misérables is sweeping, as would be expected given the scope of the hugely popular stage musical from which it is adapted. But it's also wonderfully intimate, thanks to Tom Hooper's deft direction.

For hilarity, characterization and clever structure, "The Hangover" is far superior. Still, there are some laughs in this uneven but good-natured raunchfest.

More than a quarter-century ago, Redford played a young CIA employee in "Three Days of the Condor." Someday, it will make a great living-room double bill with Spy Game -- the actor then and now.

Borderline amazing and borderline dull at the same time.

That he can make his anchorman chauvinistic, deluded and ridiculous but still manage to give him some humanity is testimony to Ferrell's comic talents.

The script strives to turn Garcia into a nasty Gere alter ego, which may explain why both leads solemnly underplay it. Though Gere's contribution is welcome, two hard-ballers in shades may be one too many; on balance, it's the actresses (especially ever-solid Laurie Metcalf) who sustain interest. [12 Jan 1990, p.2D]

While the neo-Gothic tale is inherently intriguing, the film should inspire strong emotion, but deliberate pacing and a contained sense of melodrama make it a surprisingly passive experience.

Top-shelf Shyamalan. Centered on a family having to make the most dreadful of decisions, “Knock” is a well-crafted intimate thriller that plays with your expectations and immerses you in a disconcerting situation.

Pee-wee Herman may still look good in his ill-fitting suit, but more than 30 years after first hitting the big screen, his antics haven’t aged well.

There aren't enough movie musicals in general, and especially not enough that experiment with the form like “Spider Woman.” With a satisfying tale that leans timely given the film’s political bent and a knockout performance by Tonatiuh, it might even weave you breathless.

As written, directed and, of course, acted by Sylvester Stallone, this film provides more insight into the character and his psyche than previous films, which were much more about the punches thrown.

Finally, there's a big-budget popcorn movie that delivers what moviegoers hunger for: humor, action, thrills and charismatic characters. Pirates of the Caribbean: The Curse of the Black Pearl is the summer blockbuster we've been waiting for.

Despite many uproarious bits, it also must be called disappointing - but I'm still obliged to, uh, treat it tender. [28 Aug 1992, p.5D]

Zone feels anticlimactic now. It also pales in comparison to Oscar-winning "The Hurt Locker," the most powerful film yet made about the Iraq war.

Even if audiences can get by the tasteless shock title, it's tough to figure who will ever watch this movie - even when it's on cable.

The 11th Hour is a bit like "An Inconvenient Truth" at Woodstock: a little spacey, a little preoccupied with self-love and prone to the occasional freakout.

Director Chuck Hanson, who did The Hand That Rocks the Cradle, provides many pretty-postcard shots of Oregon and Montana. But he should have been the hand that rocks the raft instead of holding off on most of the foamy feats until the final minutes. [30 Sep 1994, p.5D]

A good farce is hard to find. Particularly one that holds up for the entirety of the story and keeps us engrossed, while smiling. Miss Pettigrew Lives for a Day is a particularly effective and cheeky example.

Cross Ingmar Bergman's Persona with Roman Polanski's oeuvre and you get a workable mix ultimately sunk by standard slasher silliness. [14 Aug 1992, p.4D]

With director Harmony Korine's visual overload and somnolent voice-overs — the same sentences are repeated ad nauseum — it manages to be both mind-numbingly dull and off-putting.

There's more terror than entertainment here, though. I've seen a lot of movies in my life I couldn't wait to see end; this may be the first good one.

For its stunning iridescent look and infectious music, Rio is a refreshing adventure worth taking.

A bit of a throwback, a nostalgic, easygoing Capra-esque comedy that should appeal to both youthful and older audiences.

The movie makes some missteps, most of them in pacing and length, and the story veers occasionally into melodrama, but it is saved by the powerful performance of Benicio Del Toro.

A poignant look at the legacies of fathers who abdicate their responsibilities.

Cry-Baby is more polished than Waters' Hairspray, but the script's lack of focus makes it a lesser film. And though some of the numbers are inspired, their non-stop frequency is as exhausting as the rest. [6 Apr 1990, p.4D]

Essentially, it boils down to familiar fare: a well-paced, entertaining, conventional action thriller where a reluctant hero saves the day.

The melodrama is packed with more style – so, so much style – than narrative substance, though Jolie...fully commits to the role both emotionally and musically.

A refreshingly silly and clever portrait of a strikingly daft and clueless man.

What resonates more is his more subtle exploration of how people deal differently with trauma and the power of connection. That message — and a captivating McAvoy — will stick with you long past the thrills of a cool twist.

Spend 60 years in jail with Eddie Murphy and Martin Lawrence, and you'll understand why they call it the pokey. [16 April 1999, Life, p.5E]

The primary upside to The Upside of Anger is the presence of Joan Allen in the lead role.

The problem is the letdown you feel when these glorious morsels (film clips and soundtrack) end, and it's back to three morose schlumps.

This sweetly enjoyable family film stars the endearing Abigail Breslin as Kit. And, refreshingly, it's actually about something -- the Great Depression -- and tackles such serious issues as prejudice, poverty and homelessness.

Enjoyable enough. Though like some holiday fare, it doesn't quite stay with you.

Damon and Affleck lead a starry action vehicle – including Golden Globe winner Teyana Taylor – that, even with some plot issues and an overbearing intensity, is way better than most straight-to-Netflix potboilers.

Director David Frankel’s comedy is honest and clear-eyed as it digs into a media world where story clicks increasingly matter more than quality.

Let others recharge that tired Die Hard formula. Cameron invents a new kind of family therapy that saves your marriage and the world. [15 Jul 1994 Pg. 01.D]

Hyperviolent, highly watchable action comedy.

It’s a sketch-type conceit stretched to movie length that wears thin at times. When the stars are on their game, though, they keep the laughs coming.

It’s a more demanding narrative to navigate than the director’s previous efforts, and not all of it works with its sly subtlety. Yet there’s sensational artistry at work, with Aster peppering much of his storytelling in the background of scenes (photos on walls, informative signs, etc.) that a lot of folks might not even notice.

For his newest starry murder mystery, based on Christie’s “Hallowe’en Party,” Branagh challenges Poirot’s deductive mind and supernatural belief system and surrounds him with spookiness that can only spiff up a creaky plot and thin characters so much.

Has some funny moments, silly mispronunciations and comical socio-political references. But it suffers from being the second animated movie this year to feature a dastardly villain for a hero.

It's consistently funny -- with witty dialogue and offbeat banter that stays in your head for days.

Invincible doesn't offer any surprises. But it is a well-made, fairly exciting movie that, like its hero, has heart.

The new "Matrix" tries to reprogram a beloved piece of cinema. However, it’s quite a few fixes short of a full upgrade.

Shouldn't be overrated, but it's the first film of the year - and it's mid-February already - capable of keeping a grown-up awake.

Despite its flaws, Shutter Island is worth seeing for the palpably nightmarish and gothic world conceived by Scorsese

Bubble is a haunting film, made all the more intriguing by the use of ordinary people, not actors, in all the roles.

Director Joel Schumacher, whose pastel color schemes vitalized St. Elmo's Fire, gives this a sensual, at times even erotic, sheen. And a few subplot issues - single motherhood, runaway kids, midlife dating - hint that at least someone involved with this project intended to go after bigger game. [31 Jul 1987, p.4D]

Youth's screenplay, by Gustin Nash, is generally witty.

Until it cools off some with a full half-hour remaining, Tequila Sunrise packs the solar heat the credits and premise promise. Yet a three-quarter success does a good Mel Gibson movie make - even if his co-stars steal it. [2 Dec 1988, p.1D]

While entertaining with its swipes at everything from health food to the Latin pop craze, the semi-sweet story is about as deep and meaningful as a groupie grope.

Neither the actors nor their characters engender much affection.

Visually exhilarating, provocative and disturbing.

We're supposed to be agog at the fantastical creatures and dazzling special effects. But the more wrenching story of disillusioned children nags in the background, distracting from any enchantment.

An exhilarating fantasy adventure marred only by its length and protracted climactic battle scenes.

While Solo is a Star Wars movie that gambles on not really being a Star Wars movie, it’s a winning chapter that only sparingly (though intriguingly) shows its hand in connecting to the bigger universe.

There's evidence of his talent in some lyrical flying scenes, but the movie is so addled you'd think it was conceived by Michael J. Pollard, who shares a one-on-one scene with Lewis here (the mind boggles). [24 March 1995, p.3D]

The rambunctious Iron Man 3 is a briskly paced thrill ride until about 90 minutes in, when the excitement wanes. A few late-breaking surprises re-invigorate the tale, however.

Hollywoodland explores an intriguing bit of Hollywood history, and through the strength of its performances keeps us engaged and entertained.

There is a keen intellect behind this devoutly defiant fable.

Overlong, overdone and overwrought, the narratively challenged Set It Off gets off on exploitation shock and social-conscience schlock in equal measure. Yet it still manages to get it on entertainingly with a big assist from Latifah, blasting off the screen like human TNT, and Jada Pinkett (The Nutty Professor) in another firecracker performance. [06 Nov 1996]

It takes a particularly ham-fisted filmmaker to transform a fascinating and historically significant story into something as formulaic as 42.

Though it's not likely to become a classic like the Hitchcock film, it's a smart and well-acted teen thriller that serves up some lively scares.

Between Jackson's opining and De Niro's hopeless alibis when he messes up, Jackie is good for a bundle of bloody ho-ho-hos.

Reeks of the kind of atmosphere that makes you reach for the Lysol.

The movie feels more like a slightly longer episode of Disney's old "Winnie the Pooh" television series.

Godzilla 2014 is a more somber and frightening reboot than the cartoonish 1998 movie.

One sits through Ladder halfway engrossed, though always with a sense that its impending punchline will render the preceding an industrial- strength put-on. Then again, there are people out there who thought Ghost was profound. [2 Nov 1990, p.6D]

The bone-crunchingly violent film has luridly entertaining moments. But by its resolution, this sleazy Southern Gothic nightmare has simply gone off the rails.

Intelligent but not particularly involving.

Kiss is tasty-enough escape fare. Just don't expect anything more filling than Hershey's foiled variety. [10 Jul 1992, p.5D]