This is not a simple, uplifting tale. It's never clear whether Charlie will fully recover, and that sense of realism is the film's strength.

Secret Life anchors itself on an oh-so-familiar concept but sparkles most when imagining some of its crazier shenanigans.

The movie cleverly spoofs the 24-hour TV news cycle, as well as sexism and racism in the workplace. Not every scene is equally funny, of course, but most of the comic antics generate laughs.

City loses some bearings in its second half, becoming a ragged collection of punchy action scenes. Big deal. It's also one of the most enjoyably ragged examples of fuzz vs. scuz since 1972's Across 110th Street. [8 Mar 1991, p.2D]

Heart Eyes is tastier than a box of candy hearts, unleashes some highly entertaining kills and sticks mostly to its genre scripts. But if it drags even one horror-hating significant other over to the dark side, that’s a bloody win.

Even with a great turn from Brad Pitt, an impressive showing by newcomer Diego Calva and a bunch of entertaining cameos, the madcap comedy-drama can’t help but run out of creative crazy juice by the end as it unspools into cinematic sentimentality.

There's a familiar feeling to the movie even beyond its twinkle-eyed martial arts melees.

Maybe it's too much to ask that rationality and surprise accompany Heat's blood, bullets and busted-up cars. Red Heat is just lukewarm. [17 Jun 1988, p.1D]

Unsettling and well-acted story.

The coming-of-age film is poignant and comical, sitting squarely on that threshold, focusing on the time when a teen is part boy, part man and all adolescent.

Wilts under a weak, formulaic story.

Well-acted and intriguing exploration of dishonesty in its varied forms, leavened with a dry comic touch.

Dealing tangentially with Las Vegas gambling's formative years (lots of matte work here of mountains in the desert), this crackling melodrama was inspired by Bugsy Siegel's relationship with Virginia Hill. [17 Jul 2005]

Like the fumbling around of first-time sex, The To Do List has its enjoyable moments but doesn't exactly feel like a peak experience.

While Garcia looks around for something to do, the film is making a lot of Hoffman's comic shtick. It's funny, and sometimes very funny, but ultimately as distracting as Chevy Chase's unbilled casting as Davis' boss. [02 Oct 1992, p.1D]

At least a few good things are found in this small package.

It's too bad that this long-awaited movie didn't go further than faithfully re-creating Kahlo's artwork and her studied look. Her passionate and tragically short life (she died at 47) is ideal Hollywood material, but the audience is left wanting a more in-depth portrait.

There's a new heist film in town that follows the conventions of the genre and then adds a couple of fresh and endearing twists.

Flawed but not fatally, this ambitious epic's strength lies not just with its haunting melodies, pretty pictures, star voices and kid-friendly sidekicks - the usual shtick that makes Disney tick. [14 Nov 1997, p.D6]

Catherine Keener is also believable and sympathetic as Lopez's editor and former wife. But the film's power comes down to the strength of the two superb lead performances.

More animals don't necessarily translate to more fun and laughter, at least not when it comes to animated sequels.

Exquisitely crafted...It’s a strange little amalgamation that totally works: a vicious Shakespearean satire about power-hungry mind-sets, stealth corruption, American ambition and the current state of divided affairs in our country, but also a quasi-fictional go-for-broke biopic about a political leader we really don't know at all.

The illegal goings-on move to New York, where the plot plods until the crew gets together and the movie unleashes its secret comedic weapon: Anne Hathaway.

This is one glum outing, with occasional pings of wry wit and hearty chuckles.

Similar to other recent musical biopic vehicles like Judy and The United States vs. Billie Holiday, Respect never reaches the greatness of its shining star.

Shots is intermittently funny - but never, even on its own terms, important. [31 July 1991, p.6D]

Can't seem to decide whether it wants to be an edge-of-the-seat action thriller or a more contemplative and intellectual drama about religion and terrorism. Somehow, in trying to have it both ways, it doesn't completely succeed at either.

Harold and Kumar's Christmas movie is silly, if uneven, fun. While it mocks 3-D technology, it also makes relatively fresh use of it and qualifies as the most ambitious of the trio of films.

Compelling tale of a free-spirited record producer, played with perfect pitch by Frances McDormand.

Talk about the limitations of using the four-star rating system to assess a movie both glorious and dreadful, with the dreadful components glorious as well in their own bent way. [23 Feb 1996, p.1D]

Impassioned, informative and entertaining, if sometimes repetitive.

The true story of the recordbreaking Secretariat is pretty stupendous as is. It didn't need schmaltzing up.

A movie that only a father could love -- father being the late John Cassavetes, credited with Lovely's script. [29 Aug 1997]

Fast & Furious 6 might have just as easily been called "Planes, Tanks and Automobiles."

A breezy, mirthful caper enlivened by the comic talents of Ricky Gervais, Ty Burrell and Tina Fey.

Like a highly watchable amalgam of “Field of Dreams,” “Zootopia” and Arthurian legend, the colorful crusade features a solid hero’s journey with a slam-dunk of a finale.

This is a blueprint for mainstream moviegoing, but be forewarned that the finale is surprisingly down-and-dirty. In this case, though, the violence blisteringly redeems what has been a merely OK thriller. [8Nov1996 Pg.01.D]

Under Capricorn is still stigmatized by its terrible reviews and whopping financial losses, but with one of Ingrid Bergman's best performances, a grabber setting (1831 Sydney) and Technicolor cinematography by the era's greatest color specialist (The Red Shoes' Jack Cardiff), a lot of current movies should be as lacking. [27 Jun 2003]

Affleck ought to do more quirky character roles rather than leading-man parts in action films. Bateman plays his low-key straight man/protagonist to perfection.

Misfits and misanthropes are the heroes of Role Models, a surprisingly clever comedy.

A compelling and uplifting tale that exposes the viewer to an unfamiliar, fascinating culture and a family dynamic that is recognizable and nuanced.

The casting falters on every level compared with Queens.

Well acted by an ensemble that leans toward equality for all, Mile carries its long running time extremely well.

This is Austen lite, but pleasantly so. You can hardly fault a movie that fashions itself around a consummate writer whose keen sense of humor and gift for fully realized characters have resulted in countless screen adaptations.

This Hulk is more viscerally angry and packs a bigger wallop than Ang Lee's talkier, more introspective version. But it's hardly the best superhero movie around. "Iron Man" was wittier and more fun.

You’ve heard of an October surprise. This is a November disappointment.

Fighting seriously lacks punch.

It’s a nifty change of pace for a main character’s superteam to include his parents and grandma instead of Batman and Wonder Woman.

A family movie with a heart and a brain. And if you aren't moved to tears, you might need an organ transplant.

A suspense thriller that intelligently explores the ideal of lasting love.

While the talented quartet play these hypocritical sorts with finesse, the story grows tiresome, its cynical point made early and often.

The movie is what it is, a deadeningly literal look at ozone spiritualists and s-&-m purveyors (possibly one and the same) who toss some very spirited pool parties. A better title than the current marquee anonymity might be Naked Brunch. [16 Sept 1994, p.5D]

The visionary filmmaker's psychological thriller weaves a too-complicated tapestry.

But reserve dampens the passion in Lust, Caution, his beautifully mounted but rather unmoving film. It feels surprisingly cold, despite this erotic thriller's ultra-explicit sex scenes.

Yes, it's loud, explosive and silly, but it also perfectly embodies the concept of a summer blockbuster with its simple good-guys-vs.-bad-guys plot, cheeky humor and flawless special effects.

It's amusing, but also rather silly - offering still more evidence that Wenders seems to have seen a few hundred Hollywood genre pics too many. [30 Dec 1993, p.4D]

Has added virtually nothing to two cinema genres with their own prodigious histories: ensemble and black.

Given its complete lack of suspense, eroticism, ensemble acting, and other mere tangibles, Paul Schrader's The Comfort of Strangers (with a Harold Pinter script) is destined to wind up lacking even a modest theatrical run. [29 Mar 1991, p.5D]

Not for everyone. It is darkly funny, intellectually challenging and obliquely didactic. It also grows bleaker over the course of its nearly three-hour running time.

This “Scream” is neither king of the hill nor top of the heap, but you can’t be too mad at a picture that makes a cathartic treat out of a plunged knife in the eye.

This latest Bourne doesn't send adrenaline surging the way "Ultimatum" did, but it's still a tense, well-acted thrill ride.

Decidedly more thought-provoking than most big-studio summer fare.

Give Anderson credit for at least sustaining a mood. This is the kind of all-or-nothing movie in which a filmmaker probably can't waver from his tone.

An intermittently exciting action film anchored by a strong performance by Jackman, who embodies Wolverine like no one else could.

There’s also a relentless darkness in "Soldado" that some fans of the original will love, but the inherent idealism of Blunt’s Macer is missed: When everybody's a shade of bad, it begs for any sort of normal protagonist.

Solidly entertaining.

This time, Lee fails to do the right thing, but he may have come up with a cult film. And compared to too much of this summer's sludge, that's almost mo' better enough. [03 Aug 1990]

Mashing up satire, subtle social commentary, clever gadgetry, keen wit and high-octane style, this spy saga — based on the comic book series The Secret Service — is bolstered by a terrific cast.

While Birds of Prey is all about that group dynamic, its resident Oscar nominee sparkles as the cuckoo crazy pants center of attention who's the batty wind beneath their wings.

Instead of slowing down, you get used to its speedy pace, enough to sit back in awe of the indisputable acting talent – familiar names and fresh faces alike – Reitman’s pulled together to revisit a TV miracle.

Funny People nimbly intersperses humor and reflection. It is a rumination on mortality, fame and life choices, punctuated with Apatow's trademark raunchy humor.

Well-acted but often painfully melodramatic.

Intelligent but exasperating, its monotonous tone will wear down even viewers who started out in its corner. [27 Dec 1996]

The Lost City isn’t a bad movie, and it’s sufficiently ridiculous for those seeking a gonzo escape with A-listers. You're just left wanting in general, be it extra Pitt or more ribaldry.

Has such dull patches that as a Volvo races to the scene of a massive shootout, a distracting thought comes to mind: Can Volvos even go that fast?

I entered the screening for The X-Files: Fight the Future with myriad questions... I left with disappointing answers. [19 June 1998, p. 7E]

Too bad Boys has more gas than wind beneath its wings. [03 Feb 1995, Pg.04.D]

The clichéd ghosts of James Bond past haunt Spectre, an action adventure whose biggest failure is looking back on 007’s own success.

It tries hard to be sexy, mysterious and dangerous, but ends up laughably inscrutable.

Costner and Russo show they're up to par. [16 August 1996, p.D1]

McCarthy and Wiig are solid as the two pals who have to mend fences amid paranormal goings-on, but Jones is great as the quartet’s boisterous voice of reason and McKinnon is the film’s biggest and quirkiest standout.

Doctor Strange in the Multiverse of Madness definitely makes good on the promises of an excessive title: Alternate realities are in full effect, things get progressively more bonkers, and the latest adventure for Benedict Cumberbatch’s Marvel magic man takes “the search for one’s self” conceit to a whole new level.

As crazed as its predecessor after a slower start. [21 Sep 2007, p.11D]

Watching Rudd bring dimension to what could have been a clownish caricature is the best reason to see this good-natured family comedy.

Lumet (who also wrote the script) seems to feed on lousy cop-precinct furniture, political showboating and confrontations between street-savvy adversaries played by synergic actors. [16May1997 Pg.01.D]

Long on imaginative design but less substantial in narrative, this dreary story of fighting the power is more numbing than thought-provoking.

The powerful two-person drama gets watered down by documentary-style footage and voice-overs. But it's worth seeing just for Weaver and LaPaglia.

As suspenseful as any episode of Showtime's "Homeland," which director Michael Cuesta also executive-produced.

Sarandon is worth leaving home for, even if Jeff won't.

Isn't smart enough to cut it as the ultimate blond joke. [25 April 1997, p. 4D]

While the movie overcomplicates matters as the plot tosses in assorted criminal types and various twists, the leads always keep it watchable just riffing off each other with verbal barbs and sharp looks as their unnamed characters’ icy relationship melts and they find a mutual respect.

Dickerson's direction seems more assured as Juice progresses, but by then, the film has become less a dilemma movie than a melodramatically conventional revenge piece. [17 Jan 1992, p.4D]

This is one of those moderately engrossing movies that seems to collapse all at once during the wrap-up, yet it's well-acted all around.

Filmmakers of Bernardo Bertolucci's magnitude don't often take on sexual coming-of-age movies, but judging from the pleasures of Stealing Beauty, maybe more of them should. [14 Jun 1996 Pg.04.D]

Ridiculously attractive spies fall hard for each other in Allied, but don’t expect "Mr. & Mrs. Smith" with Nazis.

Compelling enough, a sort of "Inception"-lite, but the plot holes take it off course.

Clearly far from the worst the franchise has offered (sorry, “Scream 3”) and not quite to the level of the late Wes Craven's innovative 1996 original, Ghostface’s latest slice-and-dice through Woodsboro checks all the appropriate boxes though lacks some of the quirky fun that marked previous entries.

The film takes a long time to unfold, and some scenes feel inert. But ultimately, the conclusion is moving and satisfying.