Eccentric and generally entertaining.

It's creepy but tinged with sarcasm and infused with silly fun.

With danger in every woods, elevator and hospital corridor, Joel Schumacher's by-rote direction will likely give audiences what they want: slick, superficial escapism with casting punch - ironically, virtues associated with the current flop I Love Trouble. To its credit, The Client moves faster and adds suspense, but ultimately seems as negligible. [20 July 1994, p.1D]

While there’s a definite “The Stepford Wives” sort of vibe, the narrative themes (which do lean timely) lack subtlety and nuance. Thankfully, Pugh keeps it watchable as a young married woman trying to keep her sanity amidst a ton of gaslighting and constant doo-wop songs.

Zwick's "Once and Again" and "Thirtysomething" portrayed emotion more honestly than many TV shows of their time. But in Love and Other Drugs, he unevenly weds the satirical and the sentimental.

Marc Rocco directs with a little more passion than one might expect from the perpetrator of 1989's dreadful Dream a Little Dream. Yet the ultimate result - respectable, but no big deal - is an odd mix of the sick and the slick. [11 Sep 1992, p.8D]

How She Move has two key assets: powerful dance sequences and an emphasis on education.

We Bought a Zoo doesn't seem to know what kind of animal it is. Is it a family melodrama, a love story, a wacky comedy, a drama about coping with grief, a feel-good film about following your dreams, or, as ads seem to indicate, a gift-wrapped animal adventure? Not surprisingly, this menagerie of genres doesn't mesh.

Annaud's epic might have worked better dramatically as a smaller, more focused picture. The best scenes simply involve Law and Harris playing sneaky professional games (less cat-and-mouse than cat-and-cat) with each other.

Time to get out your flood pants and economy-size Kleenex. Sally Field has the weepies again. But unlike the hoked-up waterworks that turned Field's Steel Magnolias into rust, Not Without My Daughter has an iron-clad plus going for it - harrowing reality. [11 Jan 1991, p.1D]

What the movie can't quite get over, no matter how hard the filmmakers try, is the story's built-in limitations.

Alice Braga plays an Army sniper uniquely familiar with jungle fighting. She is the only one of the crew who does any soul-searching to figure out why this particular group was chosen as prey.

Ron Howard's The Paper starts out as a seductively overstuffed edition with breezy stories, a diverting layout, color-packed supplements and a strong editorial viewpoint. Eventually, it becomes more like the Jumble Puzzle on page 64G. [18 March 1994, p.4D]

So fluidly visual that only a deathbed finale can flag its pace, it's the first Panavision music video to run 21/4 hours, the monotony finally sapping its staying power. [23 Dec 1996 Pg.01.D]

Tthe writer/producer/director/star’s first film in 15 years struggles with its tone and is a solid if unspectacular effort, though Beatty smartly takes a supporting role to the youngsters by playing the kookily eccentric Hughes.

If you savor movies about sleazy plea bargains and other lawyer hardballing, Death has its moments. Otherwise the latest from director Barbet Shroder is only a movie of moments - much like his last: Single White Female. [21 Apr 1995, p.7D]

A case of smart and talented people trying to jam a Cold War square into a Gulf War circle. You can feel the chafing, to say nothing of the burden this capably crafted shrug has taken on.

All the contemporary wrapping, a dizzying array of tones (from screwball humor to cornball earnestness) and endless songs by “The Greatest Showman” duo Benj Pasek and Justin Paul winds up being like tinsel distracting from what works best: Will Ferrell as a determined phantom and Ryan Reynolds as his snarky Scrooge.

The Bling Ring is the cinematic equivalent of the vapid, superficial kids it features — all visual panache and minimal substance.

Huffman is a woman playing a man playing a woman, which is easily the year's most complicated turn. She does a fine, nuanced job in bringing to life a character that could have become a caricature.

Pocahontas catching us off-guard with an impromptu cartwheel isn't the knock-you-down brainstorm of Naomi Watts juggling for King Kong, but it's still deliciously inspired. Trouble is, the bit lasts two seconds, while the movie is a long "might have been" that's doomed to be buried in a flurry of strong late-year releases.

The film has its moments as a mood piece.

Mixed with the sleaze is the unexpected and occasionally inspired.

A movie just good enough to keep nurturing rooting interest as you watch it.

Thanks to fuzzy motivation, snicker-bait melodramatics and craters in logic, Calm quickly disintegrates into a might-have-been. [07 Apr 1989, p.6D]

Dolly lost a fortune and helped to all but kill the genre, yet this famed musical adaptation of Thornton Wilder's The Matchmaker is more fun than its rep indicates. [15 Nov 2005, p.8D]

There's no real dazzle in Bedazzled.

Despite corny one-liners and plot developments that don't always hold water, Aquamarine rises above the flotsam filling theaters this time of year with a likable tale of friendship and charming performances.