While it doesn't break any new ground or provide any revelations, Seven Pounds is unabashedly emotional and cautiously hopeful. It's the feel-good movie for these feel-bad times.

For those who like a little Grinch with their yuletide cheer, this movie isn't totally ho-ho-hopeless. In fact, you can even say it glows occasionally - especially with 2,500 imported Christmas bulbs a-twinkling on the Griswold abode. [1 Dec 1989, p.4D]

What A Bigger Splash does have in its favor is standout acting by Ralph Fiennes and Tilda Swinton, who gets to channel her inner Ziggy Stardust.

Sometimes Crazy, Stupid, Love captures the complexity, humor and sweetness of relationships. But in several scenes, the film takes that insight and replaces it with farcical coincidences and strained scenarios that undercut the poignancy and wit.

Thankfully, this time Eastwood flirts (and ogles) but stops just short of going completely over the top. [19 March 1999, Life, p.13E]

Drama/comedy fables such as "Big" and "13 Going on 30" effectively transported viewers to their whimsical alternate reality. But Timothy Green feels more predictable than other-worldly.

Both fun and frustrating, Fast X gets it in gear enough for a gutsy finale that leaves characters in serious peril. Yet with an end game in motion, and only one movie (perhaps two) left in this long-running franchise, it’s not the time to be stalling out this close to the finish line.

Either you will weep uncontrollably during the final 10 minutes or so of this bittersweet fable...or the urge to gag will be overwhelming.

Delayed a couple of years, shown to fans at conventions and retooled, Fanboys is an uneven and largely predictable adventure, but it has its moments.

Wacked-out and warped. [19 December 1997, p. 3D]

As wedding stories go, it's an improvement over the dreadful "Something Borrowed," though it doesn't have anything terribly new to say.

The first moral of the faithfully amoral remake of Sam Peckinpah's The Getaway is that Steve McQueen is irreplaceable. Second: Slavish faithfulness can be risky if the original is only middling Peckinpah to start. Third: Married co-stars sometimes reserve their sexual heat for off-camera Malibu mattresses. [11 Feb 1994, p.4D]

If Wonderland is difficult to embrace, it is easy to admire.

It's never enough of a grabber to keep the mind from wandering to the romance it apparently sparked.

Definitely not for everyone. It's a very bleak story with uneven pacing and a narrative whose jumps in time are confusing and occasionally infuriating. But the post-apocalyptic mood blends well with its uniquely stylized look and surreal story.

If only The Brave One had captured more of the complex nature of the fear and paranoia plaguing society since 9/11. Instead, it is a well-made but predictable take on the revenge fantasy thriller, with a female twist.

Often livens up stale material with disarming loopiness and zest.

We all love a good fairy tale, but the enchantment is missing in this predictable sequel.

Grier plays the part of the pompous patrician with superb finesse and dry wit, easily the movie's highlight.

Night School surprises by being an unexpectedly empathetic look at learning disabilities.

The fantasy-tinged narrative of Wonderstruck, which Brian Selznick adapted from his novel, is where the movie sorely lacks emotional connection.

At its best, the movie is coldly clever with a few brilliant warmer moments - as when someone drops an Alka Seltzer into the tank to soothe the Brain. [14 Dec 1995]

Can't seem to decide whether it wants to be an edge-of-the-seat action thriller or a more contemplative and intellectual drama about religion and terrorism. Somehow, in trying to have it both ways, it doesn't completely succeed at either.

The stars at least keep Wong Foo watchable. [08 Sep 1995, p.7D]

It's not that it's a bad film. But the bar is high, and it's lackluster and predictable, missing that alchemic blend of humor, pathos and indelible characters that give Pixar movies their brilliant shine.

Wedding feels a bit anachronistic. Still, not every low-budget movie must be quirky or bleak, and a happy ending is no cinematic sin.

Unfortunately, there’s not much room left for fleshed-out personalities or narrative depth, making the whiz-bang wonder often feel too empty.

Nobody fails to break a bunch of new ground transforming another normal guy into a murder machine although Odenkirk's presence does give the film a conflicted and darkly comic center. Let's hope more machine-gun antics are in his future.