Spielberg's must-see is so wondrous at depicting things that go crunch in the night that its human characterizations and pokey exposition seem astonishingly halfhearted… On a "people" level, Park isn't “Jaws,” but on a jolt level - oh, yes, it is. [11 June 1993, Life, p.1D]

Neighbors is the "Animal House" for an era in which food fights seem quaint.

The problem here isn't grimness but a failure to make grimness wrench the heart. [18 Oct 1996]

Noah is no by-the-book Bible story. Think of it as a visually mesmerizing sci-fi adventure saga loosely based on the book of Genesis.

Cronenberg has crafted a story that brings together what we do to our bodies to feel and look good – though that’s sometimes in the eye of the beholder – and the synthetic materials that play a key role in both our modern lives and environmental crises.

Marvel’s Black Widow is a strong solo superhero effort that feels both timely and also way too late.

To paraphrase Devo: Whip It, not so good.

Even though Batman's Tim Burton is a better filmmaker than Beatty will ever be, Dick Tracy is the movie - of all screen attempts - that most convinces me I'm watching a live-action cartoon. [14 Jun 1990]

For a movie that earns its R-rating for drug content and violence atop language and sexuality, it leaves you with the next thing to a mellow smile.

Instead of the heat of humanity, what lingers on in the mind is the cool of the computerized effects.

Moon, a superb first feature directed by Duncan Jones (David Bowie's son) and starring an impressive Sam Rockwell, is an intelligent, evocative and deceptively low-key sci-fi adventure.

The cringingly wacky scenarios, offbeat characters and comic dialogue serve up a crowd-pleasing, laugh-filled experience.

Rocket flies with comic-kaze crooks. [21 February 1996, p. D6]

Jason Robards and Norman Wisdom brilliantly perform knockabout stage routines in director William Friedkin's energetically patchwork portrayal of New York burlesque in the 1920s. [23 May 2008, p.10E]

It’s a gorgeous and stunning thing to look at, with awesome sights of underwater fauna, and the new movie is an emotionally charged outing that again dips into themes of colonization while adding environmental issues and relatable family drama.

An intriguing and somber tale of disintegrating and disappointing relationships fused with a coming-of-age story.

Naked Lunch is so well-acted and so amusingly warped that it's a shoo-in to become a cult movie. [30 Dec 1991]

Once this 2 1/4-hour slow-starter finally finds its rhythm, we're reminded of how gripping policy give-and-take around a long rectangular table can be.

Black is clearly suited for the role of a modern-day Inspector Clouseau, a hero clown who can't help but save the day.

Slither is old-school gooey, slimy, silly B-movie fun.

Sharply written, superbly acted, funny and even occasionally touching.

From the bizarre opening (featuring a plethora of naked obese women) to the film’s parallel narratives conceit, there's no shortage of style, though incoherence butts in from time to time.

Bolt borrows amiably from a host of sources, including "The Incredible Journey," "Lilo and Stitch" and "Toy Story 2."

The film is uneven and about 15 minutes too long. But when it's funny, it's hilarious.

Jeff Bridges has enough demons in The Door in the Floor to jam a crowd scene, but the actor's sheer likability remains undiminished.

This clever, low-budget film kicks the concept up a few notches to mesmerizing.

The economical, fast-paced style and creepy mood are reminiscent of "The Twilight Zone."

The documentary's scathing attack on the war in Iraq and George W. Bush's presidency is informative, provocative, frightening, compelling, funny, manipulative and, most of all, entertaining.