Pro orchestrator that he is, Altman at least gives the illusion of a three-ring circus, but he's working third-rate material without a net. [23 Dec 1994, p.10D]

Once again, the anchor aboard this ship of fools is the drolly doltish Leslie Nielsen, who can deliver lines like "I like my sex the way I play basketball - one on one, with as little dribbling as possible" as if they were first-class mail. Let's hope Zucker and Co. quit while they are ahead. [18 Mar 1994, p.4D]

Individually, the episodes aren't much, but it's impressive that Jarmusch even pulled off the logistics. [01 May 1992, p.7D]

It's only a mild Disney package, despite a dose of Donald Duck dyspepsia. [18 July 1997, p.3D]

A film in which precocious kids say things real kids never would, and larcenous drunks come off as adorable.

The story teeters on the edge of soap opera and emotional manipulation, but director Robert Benton (Kramer vs. Kramer) pulls back in the nick of time. What results is an involving and often poignant examination of love and loss.

Youth's screenplay, by Gustin Nash, is generally witty.

Though he's highly irresponsible, this Alfie is not quite a calculating heel, which makes the material go down easier while blunting the point.

If She-Devil is (at best) ragged, it's also a must for Streep fans. [8 Dec 1989, p.1D]

While the neo-Gothic tale is inherently intriguing, the film should inspire strong emotion, but deliberate pacing and a contained sense of melodrama make it a surprisingly passive experience.

The film's clever use of emerald-colored hummingbirds as transportation is a highlight.

This very brave bio is an imposing disappointment, just like Cobb. [02 Dec 1994, p.2D]

It's a thoroughly family-friendly film, with a subtle message about the importance of father figures. Don't expect anything resembling believability, but enjoy the blend of strikingly colorful visuals and banter between odd couple Johnson and Caine, which combine for a mild escapist treat.

Hanks invokes gravitas, deep introspection and even sly wit as Sullenberger, yet the one thing he can’t make up for is the distinct lack of onscreen danger in what could be considered a decently tame disaster film.

The movie is shrewd by giving the bulk of its piggish dialogue to Alexander, an actor incapable of projecting genuine cruelty on screen.

Satirical comedy, battlefield brutality and personal tragedy mix yet never completely gel in Napoleon, a biopic starring Joaquin Phoenix as the mercurial title character.

The early going -- say, an hour -- is spent in a fatigued daze. A few powerful jabs eventually punch things up.

It's a run-of-the-mill cop thriller but also a gripping family drama. It is in the moments spent untangling the threads of troubled relationships that the movie is at its best.

The major flaw, the clash of acting styles, is at least fascinating to observe. [14 May 1999, Life, p.8E]

James Coburn plays father in what may be the best performance of his career. [30 December 1998, Life, p.3D]

For all its inconsistencies, this is Smith's most provocative outing yet and certainly the toughest to forget.

Though the plot ends up taking some potentially compelling twists, its telling always feels manipulative.

In a year full of talking-animal hits, Sing isn't quite as strong a number. It's a tale that might not be particularly thought-provoking but sure is toe-tapping.

Far too familiar.

Both embracing and deconstructing the genre, "Materialists" is a well-acted affair with three A-list leads – Johnson, Chris Evans and Pedro Pascal – and while certainly thoughtful, the film's strengths are upended by a mood-murdering melancholy.

Given the chilling mood Bruckner strikes and dark corners he unearths, horror fans will want to spend some time in this Night House even if it’s not worth a long-term investment.

A surprisingly funny, female-driven romp — as long as you don't question too many plot particulars.

Restless is a self-consciously quirky coming-of-age tale that's essentially a teenage hipster "Love Story."