Once fresh, the story is now buried under a hoary coating.

The better-than-expected revamp strips away some of the forgettable matter – no charming princes here! Most importantly, "White" gives an inspired Rachel Zegler a different character arc and a smattering of original songs to let Snow strut as the fairest of them all.

The pace is fast, many of the performers are attractive, and even the end-credits montage is zippier than usual.

Worth stumbling into on cable not all that far into next year.

Director George Cosmatos brings nothing new to this Wyatt Earp saga except leftover bullets from previous films Cobra and Rambo: First Blood Part II. [23 Dec 1993, p.5D]

Thanks to a disproportionately superior second hour, Fat Man and Little Boy improves on its historically valid, but commercially suicidal, title. It is not, however, even the screen's second best chronicle of atomic bomb development in wartime Los Alamos, N.M. [20 Oct 1989, p.4D]

Though Walt Disney's Peter Pan once implored us never to smile at a crocodile, the Irwins' own home movie is worth a couple of chuckles. Shivers, too.

Tells an increasingly outlandish story with very funny (and often gross) moments. But about an hour in, it grows derivative and disappointing.

Passenger 57 already has been labeled Die Hard on a plane. Die Lite is more like it. [06 Nov 1992, p.2D]

Here's a by-the-playbook movie if ever there was one.

Audiences deserve a resounding "mea culpa" for the embarrassing dreck, masquerading as comedy, in The Guilt Trip.

Despite overlength, this acceptable outing has its moments, most of them in the second half. [17 Nov 1989]

A lot Bourne and a little bong, the action comedy...is too earnest to be a stoner movie and too quirky to be an action flick. Therein lies the beauty of director Nima Nourizadeh’s Ultra: It exists to entertain in its own oddball universe, munchies optional.

McConaughey will never be an actor who lets you into his soul, but he's credible as a good ole boy.

While those parents who grew up with Indy and Romancing the Stone might have seen a lot of this stuff before, it’s right in the wheelhouse for movie-loving youngsters not quite ready to watch Nazis’ faces melt in "Raiders." For those kiddos, Johnson’s big lug and Blunt’s eager explorer offer an enjoyable welcome to the “Jungle.”

It's a sweetly strange yet uneven comedy, with a charming lead performance by Steve Zahn offset by a lackluster one from Jennifer Aniston.

This year's warm and fuzzy Christmas movie. It's a generally winning diversion, thanks mostly to its likeable ensemble cast.

The result is two or three cuts above genre standard.

The pirate ship has hit foul waters, and even the sharp wit and charm of everyone's favorite buccaneer can't save it.

A timely story, given the political upheaval in Iran, it is emotionally explosive. It also is profoundly compelling.

Though sometimes boldly captivating, the movie is also occasionally pretentious and lurid simply for shock value.

"It's a mess" is the campaign slogan of Marty Huggins, played by Galifianakis. He's referring to the state of government. But he might as well be describing the movie in which he co-stars.

One doesn't put Roberts and Clooney together on screen without conjuring at least a little magic. But dusting off an old copy of her "America's Sweethearts" or his "One Fine Day" is more likely to scratch that rom-com itch.

Like it or not (it's hard to dislike), it's less a movie than a concept searching for one. [9 Dec 1988, p.6D]

It's a chick flick with a likable premise.

This frenzied fiesta of firepower is about cloning people for spare parts, but the movie is a clone itself. Possessing no new ideas, it reworks and borrows from such films as "Blade Runner," "The Matrix" and "Logan's Run."

Lottery Ticket is no prize.

Blast feels positively timely if not downright positive about the human race's ability to endure. Forget radiation. Fraser and folks actually survive three decades-plus of Perry Como music. [12 February 1999, Life, p.8E]