Rob Reiner's competent-plus wax job on William Goldman's script is keenly orchestrated manipulation. [30 Nov 1990, p.4D]

The story feels believable as a witty chronicle of human behavior, in contrast with the self-consciously satirical style of some indie films and the far-fetched heroics of big studio fare.

A tiny treasure: grown-up, tight, sexy, suspenseful and with a mildly ambiguous wrap-up that stimulates the mind rather than confusing it.

No, it isn't the slick and unfocused "Anywhere but Here," where mom and daughter choose Beverly Hills. Instead, it's the more modest and in most cases preferable Tumbleweeds.

This being Irving, the story straddles the sweet and the creepy.

Paradis is a most striking subject, but the movie is a winner as well, starting with a story full of black-comic possibilities exploited fully by the great French director Patrice Leconte.

A quagmire that reportedly has undergone multiple edits to reach its current incomprehensible state.

The Crucible shrewdly saves its most potent ammo for the end, audience-friendly showmanship to further signify a bang-up movie. [27 Nov 1996]

Like most anthologies, some segments are better than others but they all highlight different inspirations Anderson’s woven together for a delightful cinematic sampler.

Viewers who like clean storytelling may not be happy. Those who savor ironic wrap-ups will be.

Those looking to get a raucous laugh should say "I do" to Bridesmaids.

A meticulously rendered, tasteful and moving period drama.

Captures the complete exhaustion of parenthood in funny and profound fashion.

A notably undynamic treatment of Protestant Elizabeth I's ascension to the British throne.

More fresh than retro, The Muppets bursts with charm and cheeky humor.

Haunting and inspiring film.

A Hitchcockian chase...A crowd-pleasing airport-pursuit pic. [27 Dec 1995, p.D1]

Just as funny, sweet and engaging as the first film starring the big galoot.

This incarnation is funny, quirky and clever, with some mesmerizing action sequences.

A cool and clinical reportorial remembrance whose very title reminds us who Solanas was. [3 May 1996, p. 10D]

The very definition of charming.

Though the documentary painted a story and highlighted onboard emotions of anxiety, frustration and fear, something was missing: input from health and industry officials.

Feig blends a keen sense of physical comedy and exquisite timing with all the requisite spy-flick tropes, from the trippy and stylish opening credits to surprisingly violent, bone-breaking action scenes that he refrains from playing for laughs.

The soundtrack is mostly Elvis tunes, and Stitch even does an adorable impersonation of the King. As Elvis might put it, you can't help falling in love with Lilo & Stitch.

Night Moves is a thoughtful, clear-eyed and provocative film that raises thorny questions but doesn't offer easy answers.

Brian De Palma's Casualties of War, with a script by playwright David Rabe, is the most overwrought (and likely to be overrated) Vietnam movie since The Deer Hunter. Or maybe since Robert Altman's film of Rabe's Streamers. Or maybe (why split hairs?) ever. [18 Aug 1989, p.4D]

Boldly filmed in black-and-white, Branagh wrings a heartfelt narrative from a superb cast, though the story stumbles somewhat when it strays from its youthful focal point.

Who would have thought a fire-breathing monster could be one of the most adorable on-screen critters since Babe?