This is a movie to be knocked, chewed and gummed, but not dismissed. It's the first 2001 release I've rushed to see twice.

Though rambling and at times self-indulgent, its wit and pageantry, boosted by Heath Ledger's final performance, render it irresistible.

Though admittedly a minor delight, this is the only movie whose end credits identify the film's grip, then credit Martha Raye for Poli-grip, then define ''grip'' for millions who want to know just what a grip does. For such small favors, Gun 21/2 has the smell of box office. [28 June 1991, p.5D]

It's an artistic and authentic evocation of an era but a rather surface-skimming story of the '70s all-girl rock band fronted by Joan Jett and Cherie Currie. If anything, it just makes you want to know more about Jett's back story and Currie's subsequent life.

Disappearing into the role of the troubled actress, Williams' portrayal captures the star's breathy voice and distinctive mannerisms, while delving a few notches deeper.

Far more coherent than last year's aimless "On the Road" and more sharply focused than 2010's "Howl," it centers on a youthful Ginsberg finding his nascent artistic voice.

Even with the ponderous dialogue, it's hard not to have fun on this adventure, and it's good to see that Indy, though slightly weary, still has the goods.

The considerable talents of a strong supporting cast, which includes Chiwetel Ejiofor, Liev Schreiber and Andre Braugher, go untapped. The only distinguishing feature to this by-the-book thriller is Jolie, who gets pummeled as good as she pummels.

It has the best action sequences of all four chapters, though its revolutionary message gets bogged down by a meandering plot and some good old-fashioned overacting.

Barrels around in manic fashion much like Carrey does in most of his movies. He's meant to be a fool for love, but mostly he's just bonkers.

As he did in "Stranger Than Fiction," Ferrell displays surprising range when he ratchets down the volume.

The relaxed and confident Crusade is the first Jones outing to benefit from actual characterizations. [24 May 1989, Life, p.1D]

Motivations are murky, the dialogue is flat. But the movie never lets too much plot get between the dance numbers. [21 Aug 1987]

Sentiment is at its heart. The legions who grew up on Disney's Mary Poppins will find it delightfully satisfying to hear snippets of its enormously catchy songs and watch its captivating creative journey.

Here’s some Disney magic for you: The new Beauty and the Beast actually improves upon the animated classic.

Easy to tumble for. [9 February 1996, p.D4]

This X- Men is indeed first class: an exciting, bold and thoroughly enjoyable summer blockbuster.

Nolte has his moments and is the reason to see the film, but he won't quite be the fait accompli shoo-in once Tides' Oscar panhandling begins. [24 Dec 1991, p.1D]

But for an epic set up to trace two life stories, there's a lack of dramatic focus, and the leads fail to evince any particular chemistry as friends who come to have a deeper emotional connection. [31Dec1997 Pg.02.D]

When it comes to memorable personalities, humans and aliens alike take a backseat to Fassbender, who is magnificent in his dual robotic roles.

The visuals are impressive, while the goodhearted and endearing story is a little slight.

It's a rare movie that prefers a moral victory over a rah-rah one. [18 Sept 1992, p.5D]

For grown-ups, however, Deadpool avoids enough pitfalls to both embrace and flambé the superhero genre while also finding time for romance, doling out equal handfuls of bullets, barbs and warm fuzzies.

The message here is everything might not be as awesome as it used to be, but that’s OK. It's a grounded, modern sentiment – and a self-reflective one – wrapped in a hyperactively bonkers, extremely enjoyable package.

Pierce Brosnan is the anti-Bond in The Matador. And though he's anything but suave, sophisticated or debonair, he's a joy to behold.

Things move fast enough to make it a movie to enjoy and then forget.

The material is so solid and Thornton so tailor-made that the movie almost gets by.

Mortal Thoughts is a mystery that any halfway-OK hack might turn into a halfway-OK movie by bagging all pretense to art and simply telling a story. But that isn't the style of Alan Rudolph, whose last space shot was Love at Large; the result is a quirky boo-boo I suspect is already halfway out of theaters. [19 Apr 1991, p.2D]