The script strives to turn Garcia into a nasty Gere alter ego, which may explain why both leads solemnly underplay it. Though Gere's contribution is welcome, two hard-ballers in shades may be one too many; on balance, it's the actresses (especially ever-solid Laurie Metcalf) who sustain interest. [12 Jan 1990, p.2D]

While the neo-Gothic tale is inherently intriguing, the film should inspire strong emotion, but deliberate pacing and a contained sense of melodrama make it a surprisingly passive experience.

Top-shelf Shyamalan. Centered on a family having to make the most dreadful of decisions, “Knock” is a well-crafted intimate thriller that plays with your expectations and immerses you in a disconcerting situation.

Pee-wee Herman may still look good in his ill-fitting suit, but more than 30 years after first hitting the big screen, his antics haven’t aged well.

There aren't enough movie musicals in general, and especially not enough that experiment with the form like “Spider Woman.” With a satisfying tale that leans timely given the film’s political bent and a knockout performance by Tonatiuh, it might even weave you breathless.

As written, directed and, of course, acted by Sylvester Stallone, this film provides more insight into the character and his psyche than previous films, which were much more about the punches thrown.

Finally, there's a big-budget popcorn movie that delivers what moviegoers hunger for: humor, action, thrills and charismatic characters. Pirates of the Caribbean: The Curse of the Black Pearl is the summer blockbuster we've been waiting for.

Despite many uproarious bits, it also must be called disappointing - but I'm still obliged to, uh, treat it tender. [28 Aug 1992, p.5D]

Zone feels anticlimactic now. It also pales in comparison to Oscar-winning "The Hurt Locker," the most powerful film yet made about the Iraq war.

Even if audiences can get by the tasteless shock title, it's tough to figure who will ever watch this movie - even when it's on cable.

The 11th Hour is a bit like "An Inconvenient Truth" at Woodstock: a little spacey, a little preoccupied with self-love and prone to the occasional freakout.

Director Chuck Hanson, who did The Hand That Rocks the Cradle, provides many pretty-postcard shots of Oregon and Montana. But he should have been the hand that rocks the raft instead of holding off on most of the foamy feats until the final minutes. [30 Sep 1994, p.5D]

A good farce is hard to find. Particularly one that holds up for the entirety of the story and keeps us engrossed, while smiling. Miss Pettigrew Lives for a Day is a particularly effective and cheeky example.

Cross Ingmar Bergman's Persona with Roman Polanski's oeuvre and you get a workable mix ultimately sunk by standard slasher silliness. [14 Aug 1992, p.4D]

With director Harmony Korine's visual overload and somnolent voice-overs — the same sentences are repeated ad nauseum — it manages to be both mind-numbingly dull and off-putting.

There's more terror than entertainment here, though. I've seen a lot of movies in my life I couldn't wait to see end; this may be the first good one.

For its stunning iridescent look and infectious music, Rio is a refreshing adventure worth taking.

A bit of a throwback, a nostalgic, easygoing Capra-esque comedy that should appeal to both youthful and older audiences.

The movie makes some missteps, most of them in pacing and length, and the story veers occasionally into melodrama, but it is saved by the powerful performance of Benicio Del Toro.

A poignant look at the legacies of fathers who abdicate their responsibilities.

Cry-Baby is more polished than Waters' Hairspray, but the script's lack of focus makes it a lesser film. And though some of the numbers are inspired, their non-stop frequency is as exhausting as the rest. [6 Apr 1990, p.4D]

Essentially, it boils down to familiar fare: a well-paced, entertaining, conventional action thriller where a reluctant hero saves the day.

The melodrama is packed with more style – so, so much style – than narrative substance, though Jolie...fully commits to the role both emotionally and musically.

A refreshingly silly and clever portrait of a strikingly daft and clueless man.

What resonates more is his more subtle exploration of how people deal differently with trauma and the power of connection. That message — and a captivating McAvoy — will stick with you long past the thrills of a cool twist.

Spend 60 years in jail with Eddie Murphy and Martin Lawrence, and you'll understand why they call it the pokey. [16 April 1999, Life, p.5E]

The primary upside to The Upside of Anger is the presence of Joan Allen in the lead role.

The problem is the letdown you feel when these glorious morsels (film clips and soundtrack) end, and it's back to three morose schlumps.