Cantinflas is a nostalgic, occasionally schlocky, look at the Mexican icon. While a substantial number of scenes are heavy-handed, the actor who plays Cantinflas— Óscar Jaenada — is a standout.

Mary Reilly, a perversely courageous disaster that audiences will simply hate. [23 Feb 1996]

Watts has proven herself a Lady of the Rings, but twice is enough. No burning need for a trilogy.

Calling a cave of rocks home while spouting invective worthy of the Juilliard attendee he once was, homeless-by-choice Samuel L. Jackson worms his way into one of the least compelling mysteries in years.

Alas, Wolf tries too hard to shock to be effective.

BvS will please those either waiting for the two main players to lock horns on a movie screen, or those who've just been pining for Wonder Woman forever. And for the nerdier crowds, a fleeting glimpse at other superheroes hints this is the Dawn of something potentially sensational.

As a film it feels overly familiar, with some amusing scenes, but not enough to make for a wholly satisfying experience.

Vardalos' comedic style is old-fashioned in the worst way; her humor is stodgier than the most retro Catskills laughmeister.

The Village emerges as a victim of its own ambitions. At one point, Edward advises Ivy: "Do your very best not to scream." That doesn't require much restraint on our part.

The Bridget Jones characters are worth revisiting. It's just too bad the story that connects them in The Edge of Reason is less fresh and clever than its predecessor.

There are inventive and engaging moments in this broadly comic action saga. But Chandni is at once enjoyable and maddening.

Dull, dreary Answer Man raises this question: Why?

One thing it doesn't do is offer a revealing look at the mercurial entrepreneur. The movie that bears his name settles on a blandly superficial treatment of a deeply complex man.

If your idea of a good time is watching a disjointed period piece featuring a scrawny dog defecating, dozens of dissipated people fornicating and a syphilitic Johnny Depp with oozing pustules on his face, The Libertine may be just the movie for you.

Though they have plenty of lethal weapons at their disposal, the Losers are nowhere near as fun as the '80s action-flick heroes they emulate.

An ambitious hodgepodge that is all bang and bluster.

Compelling almost in spite of itself, thanks to the impressionistic imagery of cinematographer Robert Richardson.

This movie is a cookie. A slightly stale generic-brand cookie.

Dead-carcass spinoff of Jay Ward's animated TV favorite.

Directing seems to suit Luke, who also does some of his best work to date on screen.

Think of a B-grade "Bulworth" with lesser talents than A-listers Warren Beatty and Halle Berry.

Almost everyone in this has done better, and those who haven't, like young Ms. Panettiere, have plenty of time to do so.

A terrorist thriller that isn't so much suspenseful as overbearing. Though it aspires to be an intriguing political cautionary tale, the movie is mostly about the feverish and jarringly choreographed chase scenes.

Katniss and Tris might still be queen bees of the genre, but Thomas (Dylan O’Brien) and his fellow Gladers find a satisfying, teen-friendly way to combine rebellion, politics, science and a lot of jogging for a broad audience.

Revolution tries a few plot moves, but, narratively, it has two left feet.

The starship Enterprise is back, piloted for the first time (from behind the camera, that is) by William Shatner. Though he doesn't exactly parallel-park Star Trek V: The Final Frontier into a meteor, the journey is (at best) an amiably lazy Sunday drive. [9 June 1989, p.4D]

The cringeworthy dialogue and unmoving earnestness are the biggest disasters in this mostly forgettable action flick.

Catch and Release is not worth catching. Release yourself from boredom by giving it a miss.