Lead actor Ehrenreich conveys a spirited charm, while Englert, the object of his affections, is more blandly self-contained.

Grief and suicide seem unlikely subjects for a comedy. But Shrink tries gamely to mine edgy humor from the darkest places. Sometimes it works. Other times, its Hollywood-centric focus feels like a re-heated cinemash of "The Wackness," "Crash" and "The Player."

Though the journey ends on some fun notes after a sagging middle, Galaxy never fully breaks out.

The low-budget thriller deftly mixes horror-movie moments, pure strangeness and comedy like a family-friendly David Lynch effort as it takes audiences on one really oddball trip to grandma's house.

A lot of this goes down surprisingly well, even if Panettiere, through no fault of her own, is saddled with phony precocious dialogue that makes her sound like an ancient sage.

Patricia Clarkson, who has emerged as one of the screen's best character actresses, plays Brooks' wife with intelligence and down-to-earth warmth.

Gruesome, garish and smutty in a very juvenile way, Knight - the first of a promised trilogy - nonetheless is often frightfully engaging, thanks to a game group of performers and visually electric direction from Ernest Dickerson (Juice). [13 Jan 1995, p.4D]

Even at its best, Ride never survives its shaky opening hook.

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.

Jack Goes Boating won't knock you over, but it lulls you with its slow-warming heart.

If you don't mind some contrivance, On a Clear Day is a diverting underdog tale.

The Midnight Sky doesn’t always have the smoothest storytelling, yet in Clooney’s capable directing hands, the film’s emotional core and human touch are never a waste of space.

Father and son Kirk and Michael Douglas' moments together are among the movie's best.

This movie is a cookie. A slightly stale generic-brand cookie.

Bening takes a complex, sometimes cloying character and makes her sympathetic - all the while pulling off a British accent with seeming ease. She single-handedly makes the movie worth seeing.

Well-acted but often painfully melodramatic.

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.

Critics overpraised Stanley Kramer's doomsday drama in a year when they undervalued North by Northwest and Rio Bravo, and it's still dramatically mushy. [16 July 1993, p.3D]

In its own way, the film is as smugly self-satisfied preaching to its left-of-center converted as the more over-the-top speakers were at the recent Republican convention. [04 Sep 1992, p.5D]

The movie has a few too many story threads, but it also has some very funny lines and offers sharp-eyed commentary on the state of relationships in the era of instant messages and MySpace.

[A] socially conscious sprawler... Sayles' latest never bores during its 21/4-hour unreeling. But neither does it soar, despite finessing a complex flashback narrative set in 1957 and present-day. [21 June 1996, p.3D]

What's missing in Morgan Spurlock's latest documentary is a key ingredient: Morgan Spurlock.

A plodding, play-it-safe rendition of "The Family Feud."

It's terrific to see such well-matched actresses of opposing generations duke it out.

Hanks directs with assurance. Perhaps if he had teamed with a more agile writer, less given to cheesy yuck-fests, Larry Crowne would be the nuanced adult love story it aims to be.

After so much frenetic kicking and grunting, you may feel like you're in a stupor, too.

The worms, the real stars of the film, are fairly impressive, looming large, plump and slimy as they are boiled, fried, served with sauce and added to omelettes and smoothies.

While the production design is impeccable and the journey intermittently involving, The Hobbit is overlong and lacks the enchantment of the Lord of the Rings films.