A disciple of David Lynch's, Roth packs his story with horror, humor, hillbillies and sex. Roth caps his fast-moving story with a joke that's as oddly left-field as it is funny, but truth to tell, it is funny.

While it's intriguing to learn about all the players involved in creating a fashion line, there's too much minutiae to keep the attention of those who are not obsessed with design trends.

Race makes its title's double meaning all too clear, and at a time when the Oscars and movies, in general, struggle with finding racial balance, two guys of different skin colors coming together for some sports-movie magic is a fitting and truly welcoming lapping of the competition.

The film is beautifully shot, with vivid production design. But because of the tale's lack of cohesion, it doesn't carry enough emotional heft.

The Penn-manship here is far from unimpressive. But if Sean gets a second chance, he should make his audience care as much as he does. [23 Sep 1991, p.4D]

In the canon of comic-book movies, it's not as campy bad as the "Batman" starring George Clooney, but nowhere near the caliber of the Spider-Man movies or "The Dark Knight." It may have more style, but it's only a jot more entertaining than "Catwoman."

An enchantingly beautiful and moving film.

Most of the silliness lands, and the stuff that doesn’t is enveloped by the total chaos, anyway. That’s all to be expected with Deadpool around. The meat of the matter, surprisingly, is the loving closure given to the Fox movie run, plus a reminder how much an unleashed Jackman rules now, and always did.

Mermaids will satisfy those who like sentiment served on a plastic platter. Others should treat it like 3-day-old fish. [14 Dec 1990, p.5D]

The skating scenes are their own reward: It's hard to think of a movie since 1950's "Sunset Boulevard" that has gotten more dramatic impact out of a pool.

"Who wants to see a movie about a kid who's stuck in middle school with a bunch of morons?" Thanks to an endearing cast of characters and an energetic, if light, comic story, we do.

Focus never quite comes into clear view. It's a muddled and twisting romantic caper that at times feels like Steven Soderbergh lite.

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.

More amiable than witty and relying heavily on the likability and charm of its lead actors, Leatherheads scores more points as a retro romantic comedy than a football saga.

A satisfying look at young unrequited love, bromances, independence and letting go.

The five stories in The Five Senses flawlessly and even artfully create a unified mood.

Rodriguez is such a visual stylist, and the violence is so cartoonish, that the flurry of whizzing bullets and growing pile of bodies is not as offensive as it might be.

The follow-up fails in every way, as a retread of the beloved ‘90s vehicle and as a youth-centered setup for future installments.

Your mileage may vary when it comes to the over-the-top carnage and in-your-face machismo, but it’s impressive just how bonkers Fate is, like a litter of kittens hopped up on grade-A catnip.

Don't look for any belly laughs, but Quick Change will help you put on a happy face. [13 Jul 1990, p. 4D]

While it takes stabs at realism, mostly in its use of cellular and computer technology, disbelief must be suspended for full immersion in this twisty airborne thriller.

A ludicrous medical thriller operating on the supposition that readers and moviegoers have forgotten about "Coma". [27 Sept 1996]

Regrettably, it's the movie version of John Berendt's Midnight in the Garden of Good and Evil, a book still thumping its chest on the hardback best-seller list after more than three years.

Good news, parents: Storks is bound to entertain you and your little ones. Bad news: Get ready to answer a lot more awkward questions about where babies come from.

A World War II thriller without enough thrills.

This insipid wannabe frightener features a checklist of derivative conventions.

The women in Coen brothers’ movies are usually the much smarter gender, as it is with “Dolls,” where Joel Coen and Cooke’s script creates a tight-knit relationship between its heroines that’s an absolute delight to watch, surrounded by goofball personalities and a healthy amount of campiness. It’s a playfully madcap turn on the “Thelma & Louise” model, and if Jamie and Marian decided to drive off a cliff, you’d want to be in that Dodge with them.

This is the rare screwball comedy that is superbly paced, cleverly plotted and hilarious from start to finish.