Paranormal Activity 3 delivers similarly eerie moments, though long stretches go by where nothing truly ominous occurs.

At its best when sticking to a classic sci-fi-fantasy format. But when it tries to be a generic thrill ride, it loses its originality and peculiar charm.

Smith is looking more and more like a developing major talent, so it could be years until we get a handle on this movie's legacy. The film is not only defensible as a cute one-shot, but also as a positive sign for the future.

An artful examination of a small town and small-mindedness and the potential for full-blown, large-scale evil. But it's strangely bloodless.

Only a grouch wouldn't be a little tickled.

For the first time in years (even counting his excellent work in “Internal Affairs”), Richard Gere's acting gears aren't too obviously apparent; Julia Roberts, though the breadth of her emotional range remains in question, is beautiful and can act - a not-bad blueprint for continued employment. [23 Mar 1990, Life, p.4D]

JFK is provocative, a technical primer and an ensemble treat with unusually well- realized star cameos. [20 Dec 1991]

Look out for everything, and listen, too, because Suspects is one of the most densely plotted mysteries in memory.

Richard LaGravenese's flashback script craftily tones down Waller's wind, adds a germane subplot and strengthens the novella's framing device. [02 Jun 1995, p.D1]

It's breezy stuff, to be sure. And while English is far from becoming the Pink Panther for the Facebook generation, Atkinson has a breezy rapport with junior Agent Tucker (Daniel Kaluuya) that's reminiscent of Peter Sellers' Inspector Clouseau and his relationship with sidekick Kato.

The film, technically deft, is about as erotic as Mona Lisa on a hardwood floor or on a water bed. [23 Dec 1992, p.8D]

More a matter of chemistry than deadlines.

Gyllenhaal is excellent in the dual roles, though Laurent (Inglourious Basterds) is given too little to do to make much of an impression. Isabella Rossellini has a brief, thankless role as the mother of at least one of the two look-alikes.

He hasn't mastered the craft yet, but M. Night Shyamalan may be on to something with this action-movie thing.

Though Hour 2's heavy emphasis on physical and emotional confrontations stimulates dramatic momentum, this respectable superstar meeting is finally, of all things, ordinary. [26Mar1997 Pg04.D]

There is nothing objectionable in this family film, but it doesn't seem to appreciate the intelligence and savvy of its youthful audience. Kids can spot a silly stereotypical character as fast as the rest of us.

Compared with other films Costner has directed, Range isn't a folly like "The Postman," nor is it quite as over-elaborated as "Dances With Wolves."

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]

Red 2 is one of those sequels that's easier to follow if you've seen the original but more entertaining if you haven't.

A film dealing fully with Hoffman's final years might have had a lot more punch.

There are some wise observations about parenting. Hunt draws some good performances from the cast and wisely chose a low-key personal story for her directorial debut.

A promising debut by young writer/director Jacob Estes, this story of a botched revenge plot still isn't likely to break out even in multiplex August dog days.

A Hollywood take on a Bollywood movie. But the Bollywood portions - echoing over-the-top Indian movie musicals - are far more entertaining than the Hollywood segments.

Though ultimately gratifying, the ambitious Okja struggles throughout with its pinballing tonal structure, beginning as a family-friendly adventure then shifting to screwball farce and later to an emotional drama involving animal cruelty and slaughterhouse horror.

Sayles is clearly aiming to construct a multilevel character study and sociological portrait, but too often the film lapses into a lecture.

Clearly far from the worst the franchise has offered (sorry, “Scream 3”) and not quite to the level of the late Wes Craven's innovative 1996 original, Ghostface’s latest slice-and-dice through Woodsboro checks all the appropriate boxes though lacks some of the quirky fun that marked previous entries.

It won't be a waste of time to watch these people — on cable, and probably not too far in the future.

This is the best Seagal yet - written by J.F. Lawton, who also did Pretty Woman, oddly enough. But let's not go overboard. The convoluted plot treads water far too long as the good guys on land discuss strategy in a Dr. Strangelove-style conference room. The violence is way too graphic as Seagal treats the hijackers as if they were cheap cuts of beef. And Erika Eleniak's centerfold bimbo may be played for laughs, but it's no joke when she's the token woman. Then again, it's too much to expect an action top dog to learn too many new tricks. [09 Oct 1992, p.8D]