Randal Kleiser (Grease) might not be everyone's first choice as director. But with the majesty of the Klondike landscape and a script packed with action, it would be hard to mess this up. [22 Jan 1991, p.5D]

Ruffalo and Knightley make an engaging pair of colleagues and their musical adventure together results in an enchanting, gently funny and occasionally poignant story.

The film ultimately lets Mirabelle down and leaves the viewer dissatisfied. A "Lost in Translation" drained of its wryly observed humor, Shopgirl is worth a browse. But it isn't always easy to buy.

Though preachy at times, Catch a Fire is a well-constructed action thriller elevated by Luke's performance.

Though not quite up to "The Full Monty" or "Waking Ned Devine," there's just enough left in that overseas whimsy stockpile to generate good buzz (the word-of-mouth moviegoer kind).

The live-action elements — mostly in the person of Antonio Banderas as cranky pirate Burger Beard, who spends most of his time addressing a flock of seagulls — don't mesh seamlessly with the animated sequences. It almost feels like two movies awkwardly melded together.

The movie's success with viewers will depend on whether they think Vaughn is funny or tiresome.

As frothy and smooth as a chilled margarita on a hot Vegas night.

Princess Diana's antecedent, both genetically and figuratively, was a beautiful and glamorous duchess named Georgiana Spencer. Like her descendant, her charm and vivacity captivated England.

The sequel Beetlejuice Beetlejuice boasts a big heart and fleeting moments of inspired fun, often featuring Keaton’s moldy-faced menace. Compared to the brilliant original, however, the overstuffed follow-up lacks the same unhinged, kooky magic.

Big Eyes is a fabulous match of artist — Burton — and material. While it's one of the director's more low-key works, his trademark sly wit infuses the mesmerizing stranger-than-fiction biopic.

Viscerally juicy....The movie is effectively cast. [25 July 1997, p.D2]

Tolerance for this movie will likely depend on tolerance for melodramatic, over-the-top finales, especially ones with otherworldly twists.

Claustrophobic, compelling and suspenseful.

George is cute, and the simple story has its entertaining moments.

Some will think this film silly; my guess is that Kaufman has himself an upscale cult movie, a la Women in Love or his own Unbearable Lightness. [05 Oct 1990, p.4D]

It’s when there's a distinct lack of King Kong that Skull Island turns into a plodding affair.

Great movies are sometimes described as filet mignon or champagne, but this one is more like a pacifier.

While this movie is sometimes overbaked, it is the first major studio release in a while to engross wall-to-wall.

A film noir detective story that works for both devotees of the series and the uninitiated.

Kilmer seems less dangerous than Morrison, but it's a blessing in the most uncompromising bio of a please- don't-move-next-door type since "Raging Bull." [01 Mar 1991]

Though dully directed and a bit prettified by Martin Ritt, James Wong Howe's outdoor Pennsylvania vistas often combine stirringly with Henry Mancini's score. [26 Jul 1996, p.3D]

If you don't mind some contrivance, On a Clear Day is a diverting underdog tale.

A psychological drama with an intriguing ambiguity that challenges the viewer's loyalties and preconceived notions. For the first half of the movie you find yourself on the side of a hunted man. Then as the story unfolds, his pursuer becomes the one you root for.

My One and Only has an old-fashioned sensibility -- and some lovely Mad Men-style costumes -- making for a pleasantly diverting road movie.

The actors seem as frozen as the landscape in this unsuccessful attempt at a grand and profound Western about the California Gold Rush.

One can't underestimate the appeal of any movie constructed around Sean Connery's charm.

A visually arresting and entertaining romp, but it lacks some of the sardonic humor of the popular children's books on which the movie is based.

Shepherd and O'Neal have six Peter Bogdanovich films between them- but criss-cross for the first time here under Emile Ardolino's (Dirty Dancing) comatose direction. They're pleasing (as are their co-leads) but don't quite deliver the salvage job a good cast performed on Mystic Pizza. [10 March 1989, p.5D]

Despite Mel Gibson wearing dude duds, Jodie Foster picking their inside pockets, and even James Garner for incalculable good will, the poker hand in the all-new Maverick is almost an empty house. [20 May 1994, p.1D]

Well-intentioned even as it surrenders to commercialism, G.I. Jane comes on like the ultimate battle of the sexes. But it ends up being an unfulfilling exercise in pseudo-feminism. [22 August 1997, p. 7D]

Not a movie to cozy up to. The twisted tale is only mildly intriguing, worth seeing mainly for the striking performance of Jamie Bell (Billy Elliot) as Hallam Foe, a creepy teenage voyeur beset with an Oedipal complex.

This shallow sequel to 2010's much cleverer Despicable Me — the 10th-biggest animated movie in U.S. history — seems to be merely going through the motions.

Though borderline nauseating at times, Cook is never a bummer - nor is it quite up to its cinematic prowess. It will be best remembered for its challenge to de facto censorship - also the kind of visual flair that makes even shaggy-dog preciousness seem important. [6 Apr 1990, p.4D]

Salvaged by its rally, Reloaded seems less tired than "X2," its current sequel rival. But since its creators have said it's only half of a movie, we won't really know until The Matrix Revolutions arrives Nov. 5 whether this chunk is fizzle or sizzle.

This bromance with rapid-fire quips, however, is undermined by unoriginal scenarios and a long, drawn-out chase scene.

As opposed to modern horror flicks like the "Saw" movies, where gruesome violence can almost blunt fears, The Woman in Black is a tasteful, old-school frightener, emphasizing suspense and foreboding over blood and guts.

The movie establishes good will (or even great will) in the initial scenes because it's so gorgeous, but the rest is such a slog.

One would be hard-pressed to name another submarine movie that lingers so little in the memory two days after seeing it.

Not only is Saved! subversively funny, it is unexpectedly sweet.

Sky High gets Kurt Russell back to his retro Disney roots, and he's still in good enough shape at age 54 to wear a supernatural hunk's cape.

The definitive time capsule of mid-'60s swinging London. [05 Dec 2003]

Despite implied fidelity, we might as well be watching William Shakespeare's The Cable Guy. Yet the film's skewed stylistic flourishes capture enough of the original's spirit to provoke more respect than rejection. [01Nov1996, Pg. 01.D]

The story starts out well, then becomes contrived and goes on too long.

Free Guy is a big, warm hug of a movie with plenty to love, even if you’re not super into bubble gum ice cream, swing sets and vintage Mariah Carey like Ryan Reynolds' goodhearted title character.

Frisky fun made all the more entertaining because of the potent chemistry between its quartet of lead actors.

A faithful, technically brilliant, but also dramatically malnourished film of J.G. Ballard's popular World War II novel. [08 Dec 1987]

Power Rangers belongs to our inner kids, and "Once and Always" remembers that.

The latest stab at a gangsta-fied This Is Spinal Rap, is more raggedly low-budget than last year's CB4, but avoids that film's awkward mix of satire and salute. [07 Jun 1994, p.6D]

The movie has more on its mind than its delicate frame can handle, but Finney remains an actor of importance and prodigious charm. [27 Dec 1994]

The Help sidesteps easy sentimentality. As the film's heart and soul, Davis and Spencer add vast reserves of depth and dignity to a crowd-pleasing tale.

The "nonsequel" that regathers the inspired loonies who scaled the heights of giddy anarchy in 1988's "A Fish Called Wanda," is a different comic species. [24 January 1997, p. 3D]

Bug won't get under your skin as much as it will assault you with its ghastly claustrophobic drama and over-the-top performances.

While its narrative is unnecessarily complex and its story influences obvious, director Karyn Kusama (“The Invitation”) is mostly successful juggling a noir style, shifty denizens and shadowy dealings under L.A.’s bright sun.

Kasdan hasn't lost his touch at gathering terrific ensemble casts, although the performances are uneven.

Shyamalan's style is so exaggerated, with its long pauses and exacting rhythms of sound- vs.- silence, that it easily can engender eye-rolling and snickers.

Wedding feels a bit anachronistic. Still, not every low-budget movie must be quirky or bleak, and a happy ending is no cinematic sin.

Has its moments -- and almost as many subplots.

Pace and performances dominate, with popped salutes going to Keifer Sutherland, Kevin Pollack, Kevin Bacon and especially Nicholson's smiling barracuda. [11 Dec 1992]

Nothing but attitude.

Ice Harvest's plot sounds like an antidote to the season's holiday sweetness. And it's being touted as this year's Bad Santa. But the only similarities are the holiday season, the criminal milieu and Thornton.

Greer Garson, in the same year as her Oscar-winning Mrs. Miniver role, shows good gams in a lively Scottish dance-hall number. And Harvest's seven Oscar nominations (including for picture, Colman and director Mervyn LeRoy) reflect the popularity the film has sustained for decades. [21 Jan 2005]

With major stars, a name director and grown-up subject matter, this middling drama is less a movie to recommend with vigor than to covet on general principles.

A refreshing, mature fairy tale.

The generally faithful script is by Anne Rice herself, the director is "The Crying Game"'s Neil Jordan, and both seem true to themselves and as true as they can be to artistic and visceral expectations. [11Nov1994 Pg. 01.D]

If you end up cursing, try not to forget The Abyss' spectacular oil-rig collapse, a killer chase scene, two fine leads, and one Oscar-worthy "creature'' special effect midway through. Do forget the rest - unless you really dig Casper, the Friendly Ghost. [9 Aug 1989, Life, p.1D]

To Gibson's credit, Face's essential hokiness doesn't sink in until later. Let's hope, though, the Mel Man has flushed this scarface stuff out of his system. [25 Aug 1993, p.3D]

Scarlett Johansson is ideally cast as a rapidly evolving kick-ass hero in Lucy, a stylish action thriller that is equal parts dazzling and ludicrous.

Not only is this comedy no Bull Durham, it's just plain bull. [7 Apr 1989, p.6D]

The comic appeal of The Devil Wears Prada is the cinematic equivalent of a size 2 - wafer-thin and ultimately lacking in meat and substance.

While it's too hastily and neatly resolved, Hello I Must Be Going is a funny, well-written, involving and emotionally honest tale.

Clooney has excelled in serious roles - notably in "Michael Clayton" and "Syriana." But his Jack, a brooding assassin seeking redemption, is a bigger departure, and he pulls it off well.

This is Disneynature's third and best release, after 2009's "Earth" and 2010's "Oceans." With its compelling narrative of survival, it will probably be the one that most enthralls audiences.

Something this gleefully goofy and consistently funny would be welcome in any environment.

The major flaw, the clash of acting styles, is at least fascinating to observe. [14 May 1999, Life, p.8E]

It's an uneven experience, with some evocative moments and others that don't resonate as much as they should.

Original writer/director Dean DeBlois returns for a revamped “Dragon” that feels like a different experience but is just as good as the original, with moments of wonder and awe featuring characters fleshed out in new ways – literally and figuratively.

Atypical teen drama about opposites attracting that often (and happily) confounds expectations.

Only slightly more slick and slightly less edgy than past John Grisham adaptations.

Deliberately paced, epic and ambitious, The Good Shepherd feels related in tone, mood and style to "The Godfather."

It's certainly a worthy saga. But given the abundance of one-dimensional human portrayals, it becomes apparent that a documentary on the subject might have been more powerful.

Teamed again after Midnight Cowboy, writer Waldo Salt and director John Schlesinger make a costly flop of Nathanael West's great novella about underbelly '30s Hollywood. Karen Black is just OK as craven screen wannabe Fay Greener, but, along with M*A*S*H, this is Donald Sutherland's greatest lead (as a dweeb named Homer Simpson). [08 Jun 2004]

Director George Tillman Jr. compellingly probes how parentless kids cope without financial resources or adults who give a damn.

A minor delight but a delight just the same.

The Boxtrolls hold their own on screen, too, and children will fall in love with the creatures' mischievous antics, gurgling language and tendency to use their boxes as both a disguise and a portable bedroom.

Aziz Ansari’s directorial debut, the comedy “Good Fortune” would have been just fine as a lively two-hander with Ansari and Seth Rogen that acts as a funny, often insightful exploration of the modern gig economy. It’s Reeves, though, who literally comes down from heaven (actually, more often a rooftop) to be the supernatural presence the movie needs to be something special.

A visual treat with an engaging story that has an uplifting, but not maudlin, message.

This is not enjoyable entertainment, but it is brutally watchable.

Dark humor intersperses with poignant moments. Though the conclusion feels forced, the movie works.

Simple and evocative, yet teeming with intriguing visual effects.

Both darkly funny and life-affirming, in an offbeat and offhanded way.

Gyllenhaal is excellent in the dual roles, though Laurent (Inglourious Basterds) is given too little to do to make much of an impression. Isabella Rossellini has a brief, thankless role as the mother of at least one of the two look-alikes.

Emerges as a potent inspirational story on the strength of its two lead performances.

Director Taylor Hackford is so enthusiastic reminiscing on an alternate soundtrack that he almost convinces you that this diminutive cult movie is better than it is. [27 Dec 1996]

Fortunately, Hudson and Hugh Jackman, in total showman mode, make up for the narrative shortcomings as the '90s dynamite duo Lightning & Thunder.

A sensitive and occasionally poetic film, Brick Lane is an absorbing tale of personal empowerment and emotional growth.

James Cameron’s third adventure in his blockbuster sci-fi franchise, is just as cool a watch as the previous films, yet also as narratively frustrating. Endless subplots, scattershot character development and borrowed story beats backfire on “Fire and Ash,” although it does benefit from an unhinged but relatable villain whose presence keeps it interesting.

For younger audiences drawn by the attractive actors, this might be their introduction to the Dumas epic. At least it's an effective and rousing version.