There is no lack of Disney-fied melodrama, for sure, yet Queen fights through all that with outstanding acting, deft filmmaking choices and the introduction of a new talent in Madina Nalwanga.

It's not nearly as enjoyable as one of his rambling, meditative songs, though perhaps it is aspiring to be the cinematic equivalent. Give me "Tangled Up in Blue" any day over this incoherent, tangled trip.

Overall, though, the movie commands mild respect. Cinematographer Kenneth MacMillan, who also shot Rush, has an ability to keep squalid surroundings from turning into eyesores without polishing them too much. Casey Siemaszko puts his own spin on Curly, the sadistic malcontent who'd like George and Lenny fired from his father's ranch. And however futilely, Sinise and scripter Horton Foote even try to make Curly's doomed Mrs. (Sherilyn Fenn ) more than the one-dimensional sexpot she often is. Bottom line: More mouse than man - but occasionally, a mighty mouse. [2 Oct 1992, p.4D]

The original movie took a similar tack but did it better, and the sequel misses a real chance to flesh out the intriguing new emotions more. Aside from Anxiety, a truly inspired Disney antagonist, they feel more like side characters than Anger, Fear, Disgust and Sadness did in the first outing.

Stands apart for its raw, quiet emotion and its shattering sense of truth.

Taut, tightly paced and thrilling, with some of the best chase sequences -- whether by foot, taxi or Jeep -- in recent memory.

Gosling nicely follows up his Oscar-nominated Ken turn as an embattled Everyman who falls 12 stories, gets thrown through glass and pulls off an epic car jump, among other death-defying moments in the breezily delightful Fall Guy.

In addition to reprising his role as Adonis Creed, Jordan packs his directorial debut with the usual “Rocky” melodrama and bombastic ring entrances while freshening the series with stylish, anime-influenced fights and a new spotlight on deaf representation.

As one might say in Oz, “Wicked” is thrillifying in its melodiousness even if overlongical and ponderrific.

While the tension is sometimes muted, this is more than a procedural round of spy games. The deliberately paced but riveting film is made all the better because of Hoffman's breathtakingly nuanced portrayal.

Despite an abrupt ending and the worst title of the year, Arbitrage manages to leverage real tension from its veteran stars in one of Hollywood's first pedigreed films of the fall.

Emphasizes backing up wishes with hard work. That proviso is a thoughtful message for young moviegoers.

This meaty Irish stew isn't arty or elliptical. It ought to connect with anyone who's survived sibling tension or romantic fence-sitting. [9 August 1995, Life, p.5D]

Renner, in one of his best roles, lends a weathered depth to Cory but also surprising intelligence to the character deemed “Sherlock Snow.”

“Live by Night” aside, Affleck’s directorial record is pretty impressive and Air feels like his most inspired effort to date, an underdog story with the greatest basketball player of all time at its heart.

This is a rare twisted crowd-pleaser for longtime fans as well as novices -- or for those that don't know an arachnid from an insect.

A pretty good “Chapter 3” still equals insanely explosive, two-fisted exhilaration.

Unapologetically brutal and unencumbered by much plot, Raid is the year's most turbo-charged film.

A 2-hour classic wrongfully stretched into three.

With near-Swiss precision, director/producer Jay Roach and his writers make sure familiarity breeds hilarity.

With its focus on integrity, creativity and identity, Beyond the Lights is a rare intelligent romantic drama.

Even if a lot of adults have problems following this picture 100%, look for computer-savvy teen-agers to guarantee this sometimes original but too often derivative time-killer a shelf life.

This is a tale not only of epic disaster but also of resilience. The Impossible is a nimbly acted drama that is at once a stellar visual achievement and a life-affirming story of familial love and courage.

Worth seeing not only because it's a highly effective thriller, but also because it's a finely tuned evocation of innocence at the mercy of adult cynicism.

Riveting and darkly comic Super Size Me is a whip-smart documentary.

Watching this movie, it seems to be the next level down from great -- maybe too episodic. But it burns in the memory weeks after you see it.

It's modest - but within its own framework, tough to beat. [14 Aug 1991, p.4D]

McKay's performance is a revelation. He nails Welles' imperiousness, charm and vocal cadences, and even bears a strong resemblance to the iconic actor/director. He is thoroughly convincing as Welles and electrifies the screen when he's on it.