Like a lot of meds, it loses its effectiveness over time, and you'll build a resistance to Effects eventually, particularly when it dissolves into a standard crime flick.

Director Richard Rush's unique moviemaking saga is one of the consummate screen treats of its day, though its offbeat subject matter and tone caused it some problems. [23 Nov 2001, p.8E]

His (Cameron) movie may not be perfect, but visually and viscerally, it pretty well is.

Bruno Coulais' musical score provides an evocative counterpoint to the often dazzling photography. A scene featuring diving sea birds and whales moving in concert with the rhythm of the waves is stunning.

More coming-of-age story than biopic, this Guevara odyssey is a transformative adventure well worth watching.

Little Children maintains much of the power, humor and nuance of Tom Perrotta's wonderful novel, but seems unsure if it's a satire or a serious drama.

Arnie is Arnie. He has all the cute lines ("No problemo," "Hasta la vista, baby''). And he does more with a squint than anyone since Popeye. [3 July 1991, Life, p.1D]

Moviegoers of rarefied sensibilities will easily identify this anti-captain-of-industry as a "typical Eric Stoltz role," just as moviegoers of extremely rarefied sensibilities will pick up on Kicking's "typical Chris Eigeman role." [23 Oct 1995, Pg.06.D]

While it’s not the greatest Marvel effort — that honor goes to the previous Captain America: The Winter Soldier — Civil War does pull outstanding performances from its two franchise faces, Chris Evans and Robert Downey Jr.

Numbers abound ('Round Midnight and Pannonica are just two), and the film addresses the mysterious psychological malady that shortened Monk's career. Has anyone ever been more fun to watch play than Monk? [26 Oct 1990, p.3D]

Nothing is easily resolved in this complex drama, which makes it all the more honestly moving. More than anything, this is a film about a woman on a journey of self-discovery, finding her way gingerly.

Director Dominik Moll knows how to make a gruesome-free thriller and even manages some dark laughs as he turns the screws.

A cautionary tale very well-told.

Just a good time at the movies, but it's still a smarter two hours than most "good times" are.

Such pure, naked joy is utterly contagious.

The final third is slower until a somewhat contrived finale that's still the funniest thing in the movie.

A fresh-slant Vietnam picture in which lead Tom Cruise achieves indisputable greatness, July is otherwise a "more often than not'' achievement. But though it's as full of itself as Stone's watchably windy Talk Radio, the film's roundhouse punches propel you into remote Mike Tyson-land when they connect. [20 Dec 1989, p.1D]

Catch offers mild fun but never as much as its animated '60s-retro opening credits portend. They're the cutest of the year.

Think of it as a thrill ride with gravitas.

While The Dark Knight won't be supplanted any time soon as tops among Bat-movies, the new film makes a strong argument for second-best simply by taking time to explore the core of Batman that others haven’t: He’s a complicated mess who can’t get out of his own way long enough for the greater good.

At its best, it's a gentle meditation on mortality. But at weaker moments it feels meandering and strangely empty.

This movie is more wistful and winking, though it's obvious Mario is still working out emotional baggage with his tyrannically driven old man.

There's a lot thrown in here for two hours, and Apatow could easily have lost about 30 minutes of high jinks and gotten the point across that everybody has their somebody. Yet with Schumer driving the action, Trainwreck may be his most impactful ride yet.

About a Boy is a rarity in many ways. It's a well-written, witty film whose memorable characters grapple with the nature of family, love, friendship and despair. Even its soundtrack, by Badly Drawn Boy, is perfectly pitched.

There is no question that the organization is a riveting subject for a film.

Huston's movie seems to disappoint some who've read the novel, but the forlorn humanity that triumphs over the depravity and poverty is unforgettably affecting. [13 Dec 1996, p.1D]

Filmed for the cost of about two Snickers bars and given a bizarre voice-over narration in the second person, this seductively weird pioneer independent feature is the ultimate in grimy period atmospherics. [25 Apr 2008, p.5E]

Even with an administration full of smart, capable people, no one is properly prepared when nuclear weaponry is triggered, and “A House of Dynamite” puts an extremely human spin on that particular no-win situation.