Free Birds is pleasant enough holiday fare. And kudos to the animators for transforming a rather unattractive — or at least unappreciated — species into a cast of endearing characters.

Except for its muddier than necessary photography, there aren't any surprises, which probably won't matter to the target audience.

Che is a mass of contradictions, perhaps like the iconic revolutionary himself.

Definitely more than semi-funny.

Where "Mall Cop" is broad, safe and sticks to a formula, Observe and Report is unabashedly crude, cynical, off-kilter and funnier.

A feel-good, all-star monster mash with a low-key smackdown on bullying and a major focus on being as goofy as possible.

Catch offers mild fun but never as much as its animated '60s-retro opening credits portend. They're the cutest of the year.

There's something about a plus-size floral housedress that brings out the best in many male comics, and Lawrence is no exception.

Excesses or not, I'm rabid to see this again. [10 Mar 1989, p.1D]

Storywise, it’s a solid if overlong tale of family and redemption – fans of “Yellowstone” or “Horizon” will find stuff to love. Where “Rust” stands out is in its look, a gorgeously shot production with an emphasis on contrasts and dark colors that’s a testament to the talents of Hutchins and fellow cinematographer Bianca Cline.

McKay's performance is a revelation. He nails Welles' imperiousness, charm and vocal cadences, and even bears a strong resemblance to the iconic actor/director. He is thoroughly convincing as Welles and electrifies the screen when he's on it.

Director Richard Rush, who later made the classic The Stunt Man, overindulges the arty bike footage. But this is certainly an artifact of an age, photographed by Leslie (later Laszlo) Kovacs, who became one of Hollywood's best cinematographers. [02 Jan 2004, p.4E]

Roll Bounce rates a friendly nod. If it doesn't exactly kick out the jams, it does move them around a little bit.

While style trumps substance, something in the way this '60s tribute moves attracts us.

It all feels about as spontaneous as a concrete blueprint.

Chlumsky's devotion to Culkin, a lovable wimp given to milk mustaches, sets us up for an emotional rainstorm. Only the strong will escape without a tear. [27 Nov 1991, p.1D]

If the sight of half-naked, tattooed sailors firing cannons at each other shivers your timbers, climb aboard. Even passable pirate movies don't sail by every day. [22 Dec 1995, p.3D]

When the comedy connects, it can deliver with funny force

Full of love, Spaceballs is full of laughs; after 13 years of screen disappointments, Brooks has almost delivered another Young Frankenstein. May the box office be with it. [24 Jun 1987, p.1D]

While the story does not quite come to magical life, the themes of courage, hope and decency are sweetly inspiring.

Mottola, who wrote and directed 1996's "The Daytrippers," crafts smart, witty dialogue. But the movie suffers in tone. While much of the story feels like a brainier John Hughes comedy, it veers into more dramatic terrain and loses focus.

This being Irving, the story straddles the sweet and the creepy.

Movies often don't do their stories justice, and that has happened again here. The main problem is a tone that jarringly switches from a kind of Forrest Gump-style narrative to a more generic biopic.

This Hulk is more viscerally angry and packs a bigger wallop than Ang Lee's talkier, more introspective version. But it's hardly the best superhero movie around. "Iron Man" was wittier and more fun.

The courtroom scenes emphasize the movie's potency as a David and Goliath saga. But the film's strength lies in its fact-based story of a wronged man turned crusader, played with vigor by Kinnear.

While director Roland Emmerich (Independence Day) piles on outlandish scenarios, the chemistry of the lead actors mitigates the contrived setup and numbing explosions.

The overall message is pleasantly sweet: Bad days happen. Not only are they inevitable, but they serve to make the good times worth savoring. There's nothing dreadful about that.

There are some effectively suspenseful moments in the movie, particularly during the gambling sequences, but one longs for more context and probing into the psyche of an ordinary man with an extraordinary compulsion.