When it isn't funny, it's embarrassingly obvious - and it's almost never funny. [24 Dec 1990, p.1D]

The fictional premise is used cleverly to illuminate the creative process and explore romantic minefields, and the appealing Ruby Sparks has a low-key, polished charm.

Those who appreciated "Metallica: Some Kind of Monster" will probably enjoy this documentary.

Though there must be a dozen U.S. presidents who have never had a documentary made about them, the late Tupac Shakur could rate his own section in video stores, placed between "music" and "action."

The movie's story and cute characters are geared toward the younger crowd, per usual. But while it lacks the wonder and nuance of earlier Pandas, there are enough new faces and wowing, Asian-influenced style to also keep parents amused for an hour and a half.

Where "United 93" was a superb example of masterful storytelling, World Trade Center is a more conventional rendering.

The villains are so extreme that they come off like sleazy caricatures. This accentuates the nuanced skill of the two lead performances, but it undercuts the overall effect of this well-constructed, if occasionally flat, pulp thriller.

By showing the struggles and efforts of about half a dozen people, it puts a human face on the tragedy.

Don't be put off by the title. This is no sequel, but a surprisingly charming British comedy that is only tangentially associated with "Rambo."

Gives Dennis Quaid one of his best screen showcases.

Begins promisingly and entertains for a stretch because you think it's leading to something more than one of the movie year's flattest conclusions.

The story doesn't exactly startle with surprises and has a tendency to hammer and rehammer its points.

Spiced with plenty of humor and affection.

Emma is the peak of the recent Austen pack and a star-maker, too -- an antidote to a summer in which even good movies have subordinated writing and characters to special effects. [02 Aug 1996, Pg.01.D]

Director Joss Whedon knows how to make a wryly funny, action-packed extravaganza, as he proved with 2012's "The Avengers." So why did he overstuff the 2½-hour sequel?

While the story is preposterous and most of the cast standard-issue, it's hard not to like a comic-book movie that features both Busby Berkeley-style dance numbers and high-tech vaporizing weaponry.

The ensemble cast is strong. At its silliest comic moments it has a sitcom flavor, but the overall effect is gently amusing.

But let's not mislead about acting gold: Without Nicholson and Keaton, the movie would be fair. With them, it's one of the few good romantic comedies this year. What we gotta give is thanks.

It's hampered by a listless quality and a one-note performance by porn-star-turned-actress Sasha Grey.

Packed with surprising depth as it utilizes complete lunacy and clever bites to cobble together something wholly different in the cartoon space, even though at times the wacky film does itself a disservice by aiming for shocks rather than smarts.

Despite one of Eastwood's more respectable directing jobs, we never sense the method to his madness - or even if it is madness. Nor can Jeff Fahey lick his own character's novelistic origins: the first-person narrator (and Trader script doctor) who by himself isn't too compelling. [14 Sep 1990, p.4D]

Not for the faint-hearted.

Cold and cut to the bone, the film is a primer in screen virtuosity. Standard action film clichés, like a face getting hit with a chair, get turned inside out; both film and actors somehow manage to seem realistic and stylized at the same time. [21 Sept 1990, Life, p.6D]

The plot is predictable and the dialogue often sticky sweet, but at least kids will identify with Stuart's desire for adventure and exploration.

It's fun to see somebody revive the amnesia genre - how long has it been? - but the conceit quickly grows irksome. Only Thompson, who manages to be appealing in both of her roles, will likely reap much from this DOA folly. [23 Aug 1991, Life, p.4D]

If the original “Creed” was a straight-up knockout from bell to bell, the sequel takes its time with body blows – from all directions – to ultimately get you right in the feels.

Victoria Tennant's iciness has been well-utilized on screen occasionally, but not this time. [8 Feb 1991, p.D4]

Too much talk, not enough wooing. In the end, Ever After's spell is only half cast. [31 Jul 1998, Pg. 07.E]