Thunderheart, which concerns tragic in-fighting between factions of the Oglala Sioux, lands with a sound that duplicates the name of the Indian chief who harassed Howdy Doody in less ethnically sensitive times. Thunderthud. The movie is so dramatically stillborn that it may be unfair to single out Val Kilmer, but that is Kilmer's name atop an acting lineup that includes Sam Shepard, Fred Ward and Graham Greene (Dances With Wolves). [3 Apr 1992, p.8D]

Victor Mature became a star in the 1940 original, which was simply called One Million, B.C. Happy New Year, Vic, but nothing in your version can compete with a blond Raquel Welch -- she wearing the latest '60s open-navel cavewoman garb here [27 Dec 1996, p.3D]

Geronimo: An American Legend offers both sides of the protracted battle between the U.S. Army and Chiricahua Apaches in 1885-86, which means that the film's most abject villains are Jason Patric's vacant performance and Matt Damon's droning voice-over. [10 Dec 1993, p.9D]

Despite its title, Prime is not a cut above. This romantic comedy's predictability and rather dull love story make it the cinematic equivalent of a slightly stale hamburger.

Buried under an avalanche of action. (1996 June 7, pg. D1)

The follow-up plots an extremely familiar course but at least does so with fresh new personalities and more inspired Pacific Island influence.

The new “Girls” sticks to the script plotwise, to a slavish degree. Even Fey and Tim Meadows playing their old teacher roles seems forced and uninspired. It’s only when the movie remembers it’s a musical that it refreshingly breaks from the norm.

The movie is more compelling than exciting with one exception: the kind of rocket blast-off sequence for which IMAX screens were seemingly invented.

Though the film offers a meticulously rendered Depression-era L.A., it's not in the same league as "Chinatown," for which Towne wrote an Oscar-winning script. Here, the characters seem shallow, their motivations murky.

Until its roaring-semis climax, there is no genuine excitement here. Only 133 characteristically overlong minutes of painlessly watchable bubble bath. [14 July 1989, p.1D]

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.

The world of the fanciful fable looks particularly vibrant this time with its signature blend of realism and fantasy. It is a pleasure to watch these fairy tale folk be themselves -- yet again.

The rescue drama The Finest Hours rocks the boat in terms of blizzard-blitzed sea thrills but leaves you cold with its side love story.

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.

Seeing this movie won't get you into MIT, but it's passable fun.

The presence of "Election's" Chris Klein as the male contingent's most sensitive member only emphasizes how much smarter that high school comedy was.

At the rate things are going, all of Hollywood will put in about a day's work on "Ocean's Seventeen."

A movie with memorable and engaging performances.

The breezy and sometime absurd Fading Gigolo is reminiscent of vintage Italian films and early Woody Allen movies.

At least a more satisfying basketball saga than last year's "Coach Carter."

It’s cute and heartfelt at times, though the adventure by director Thea Sharrock (“Me Before You”) can’t decide between being a fun-filled romp or an animal-rights drama.

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.

Melissa Mathison, who wrote E.T., the Extra-Terrestrial and co-authored The Black Stallion script, isn't one to louse up a modern classic with overkill. [14 July 1995, p.1D]

Though not as far-reaching as the book from which it was adapted, Everything Is Illuminated is a movie with wit, warmth and unabashed emotion.

Nothing is etched in anything remotely resembling a hard surface in Stone.

Dial of Destiny is a solid Indiana Jones adventure that ultimately dodges the giant boulder of expectations. But as a franchise closer, it’s an anticlimactic affair that, while not a memorably rousing last crusade, at least bids Indy adieu in an emotionally satisfying fashion.

A stronger and tighter movie than its Oscar-nominated predecessor without losing any of its splendor.

By adhering to the romantic-comedy formula, The Invention of Lying stops short of being truly inventive. But enough sequences are fresh and inspired to make this a comedy honestly worth catching.