It's certainly a worthy saga. But given the abundance of one-dimensional human portrayals, it becomes apparent that a documentary on the subject might have been more powerful.

Teamed again after Midnight Cowboy, writer Waldo Salt and director John Schlesinger make a costly flop of Nathanael West's great novella about underbelly '30s Hollywood. Karen Black is just OK as craven screen wannabe Fay Greener, but, along with M*A*S*H, this is Donald Sutherland's greatest lead (as a dweeb named Homer Simpson). [08 Jun 2004]

Director George Tillman Jr. compellingly probes how parentless kids cope without financial resources or adults who give a damn.

A minor delight but a delight just the same.

The Boxtrolls hold their own on screen, too, and children will fall in love with the creatures' mischievous antics, gurgling language and tendency to use their boxes as both a disguise and a portable bedroom.

Aziz Ansari’s directorial debut, the comedy “Good Fortune” would have been just fine as a lively two-hander with Ansari and Seth Rogen that acts as a funny, often insightful exploration of the modern gig economy. It’s Reeves, though, who literally comes down from heaven (actually, more often a rooftop) to be the supernatural presence the movie needs to be something special.

A visual treat with an engaging story that has an uplifting, but not maudlin, message.

This is not enjoyable entertainment, but it is brutally watchable.

Dark humor intersperses with poignant moments. Though the conclusion feels forced, the movie works.

Simple and evocative, yet teeming with intriguing visual effects.

Both darkly funny and life-affirming, in an offbeat and offhanded way.

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.

Emerges as a potent inspirational story on the strength of its two lead performances.

Director Taylor Hackford is so enthusiastic reminiscing on an alternate soundtrack that he almost convinces you that this diminutive cult movie is better than it is. [27 Dec 1996]

Fortunately, Hudson and Hugh Jackman, in total showman mode, make up for the narrative shortcomings as the '90s dynamite duo Lightning & Thunder.

A sensitive and occasionally poetic film, Brick Lane is an absorbing tale of personal empowerment and emotional growth.

James Cameron’s third adventure in his blockbuster sci-fi franchise, is just as cool a watch as the previous films, yet also as narratively frustrating. Endless subplots, scattershot character development and borrowed story beats backfire on “Fire and Ash,” although it does benefit from an unhinged but relatable villain whose presence keeps it interesting.

For younger audiences drawn by the attractive actors, this might be their introduction to the Dumas epic. At least it's an effective and rousing version.

The movie isn't without style, but the material can't remotely sustain 100 minutes.

Though John Travolta and Christian Slater don boxing gloves to open the dippy but zippy Broken Arrow, the real slugfest in director John Woo's elaborately mounted action pic is between content and style. Call it a draw, and call the movie's content a Speed derivative. [9 Feb 1996, p.1D]

This is not a simple, uplifting tale. It's never clear whether Charlie will fully recover, and that sense of realism is the film's strength.

Secret Life anchors itself on an oh-so-familiar concept but sparkles most when imagining some of its crazier shenanigans.

The movie cleverly spoofs the 24-hour TV news cycle, as well as sexism and racism in the workplace. Not every scene is equally funny, of course, but most of the comic antics generate laughs.

City loses some bearings in its second half, becoming a ragged collection of punchy action scenes. Big deal. It's also one of the most enjoyably ragged examples of fuzz vs. scuz since 1972's Across 110th Street. [8 Mar 1991, p.2D]

Heart Eyes is tastier than a box of candy hearts, unleashes some highly entertaining kills and sticks mostly to its genre scripts. But if it drags even one horror-hating significant other over to the dark side, that’s a bloody win.

Even with a great turn from Brad Pitt, an impressive showing by newcomer Diego Calva and a bunch of entertaining cameos, the madcap comedy-drama can’t help but run out of creative crazy juice by the end as it unspools into cinematic sentimentality.

There's a familiar feeling to the movie even beyond its twinkle-eyed martial arts melees.

Maybe it's too much to ask that rationality and surprise accompany Heat's blood, bullets and busted-up cars. Red Heat is just lukewarm. [17 Jun 1988, p.1D]