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

Though it's no "Monty Python," Hot Fuzz is a clever, over-the-top marriage of mayhem and merriment.

Story is everything and Shark's is rather thin and soupy, despite the winning improvisational skills of stars Will Smith and Jack Black.

For the most part, Wilde's sophisticated, sardonic dialogue has been capably adapted by screenwriter Howard Himelstein and director Mike Barker.

Crazy Love is pulp non-fiction.

While the entire premise of Sleuth is a gimmick, having Michael Caine and Jude Law remake the 1972 adaptation of Anthony Shaffer's Tony Award-winning play heightens the gimmick quotient.

Similar to other recent musical biopic vehicles like Judy and The United States vs. Billie Holiday, Respect never reaches the greatness of its shining star.

The Spirit is uneven, but its campy adventure provides some amusing, escapist fun.

Harris is a major asset in a film that is entertaining but somewhat unfocused and occasionally badly cast.

At least we have a winning Lisbeth. Now let’s put her in a situation that’s all her own and not just a placemark for a caped crusader or a dapper secret agent.

A simple, sentimental family drama for the holidays, Evelyn, alas, is also predictable and schematic.

Given its premise and title, you’d expect a zippy movie with some momentum, yet too many flashbacks and a surprising amount of chattiness in the overlong film slows everything down – at least until a crazy albeit satisfying finale where Leitch pretty much cuts the brakes and lets chaos take the wheel.

The movie is so aggressively ingratiating that it's probably not to be fully trusted, yet it works suprisingly well on its own limited terms[14 May 1999, p. 8E]

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.

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.

Imagine what would happen if Andy of Mayberry transferred to New Mexico, adopted Barney Fife's delusions of trigger-happy grandeur and went undercover for the federal government. That's the gist of White Sands, an intriguing but muddled game of cross and double-cross...For the first 10 minutes or so, this thriller directed by Roger Donaldson (No Way Out) is a knockout. [24 Apr 1992, p.4D]

We're supposed to be agog at the fantastical creatures and dazzling special effects. But the more wrenching story of disillusioned children nags in the background, distracting from any enchantment.

Chayefsky's untempered windiness and direction (by Arthur Hiller) so impersonal that this D-day black comedy could just as well be an I Dream of Jeannie episode. [22 June 1990, p.3D]

Though the film is not terribly original (and features a jarringly miscast Alicia Silverstone as Alex's nanny), the action scenes are diverting, the veteran cast is amusing and the engaging Pettyfer makes a solid debut.

It's impressively ambitious, though great new personalities and fresh storytelling suffer for the sake of fan service.

Instead of the heat of humanity, what lingers on in the mind is the cool of the computerized effects.

My hope is that if they do a sequel, they focus on No. 4. Love the way he carries pizza wedges in his wallet [17 July 1996]

Glorious picture-postcard photography. [10 July 1998, p.8E]

The premise of visiting so many pubs as a narrative device, however, bogs down the initially energetic pacing and goofiness. Piling on the mayhem renders The World's End a sometimes chaotic and uneven comedy.

The concert footage is mesmerizing; the planning leading up to the show is pedestrian.

While those parents who grew up with Indy and Romancing the Stone might have seen a lot of this stuff before, it’s right in the wheelhouse for movie-loving youngsters not quite ready to watch Nazis’ faces melt in "Raiders." For those kiddos, Johnson’s big lug and Blunt’s eager explorer offer an enjoyable welcome to the “Jungle.”

One of the coldest action films in years and an odd showcase for Saoirse Ronan, a deft actress who is one of the few youngsters capable of pulling off action with acting.

Ultimately, World comes down to two inherently appealing icons in an imperfect casting fit. Costner modifies his Louisiana accent from JFK, and again we're forced to accept it on good faith. He's never quite believable, but he is tolerable in a role that demands a star presence. [24 Nov 1993, p.4D]