Doesn't shed much light on the fragile and enigmatic writer whose myth has nearly obscured the real woman.

This handsome movie works thanks to its lack of pretension and an atmosphere somewhat akin to the gentle wackiness of director Bill Forsyth's better works.

With its dark, wacky humor, some moments are reminiscent of last year's "Machete."

To redo such a sentimental gem without Hepburn's incandescence to light the way seems foolhardy at best, but director Sydney Pollack (Tootsie) miraculously almost pulls off his updated homage simply by choosing well and popping enough champagne corks to make us believe the wealthy are still glamorous despite Donald Trump. [15 Dec 1995, p.1D]

While Mission: Impossible has found a popular way to reimagine an old show for modern times, Man is immersed in all things retro — from the ginchy fashion to a jazzy score — but for an action adventure, it’s a mostly tedious affair with fleeting moments of cool.

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.

There's no substitute for bad taste. And this one has it double-barreled, both in the timing of its release and as a movie, one said to be loosely based on fact.

There can be too much of a goofily good thing.

It's slick, melodramatic, even inherently trashy - but a blue-chip moviegoer investment. [11 Dec 1987, p.1D]

It's an odd blend - a sentimental story in a futuristic world of brutal machine-maneuvered fights. There are some ringside thrills, but it's not a seamless mesh.

Narrated by Johnny Depp, a portrait emerges of an anarchic, humble spirit who now fears becoming "a visual polluter."

Trying to decipher all the convoluted pathways could drive you mad. Mostly, though, it is so ludicrous that it will unintentionally inspire laughter.

The tale was no doubt meant to convey Kemp/Thompson's boozy aimlessness, but the film feels disjointed and meandering as a result.

Ramona and Beezus are undeniably cute, and the movie that bears their names tries to inject some timeliness, but what many of us will walk away from this movie thinking about are the hot father figures.

Breaking and Entering starts out powerfully, then falls apart by the time it reaches its too-neat conclusion.

On both technical and conceptual levels, Bamboozled is a movie that will leave Spike Lee fans bewildered.

Fox's innate likability does go a long way to make sitcom- shallow Doc Hollywood mildly entertaining. [02 Aug 1991, p.5D]

It calmly examines death, grief and melancholy, packing an unexpectedly profound emotional gut-punch.

Director Robert Zemeckis, who handled visual foolery with finesse in the Back to the Future series and Who Framed Roger Rabbit, is no Ponce de Leon when it comes to rejuvenating a half-baked story. Once Death dumps out its bag of tricks, there's no place to go but six feet under. [31 July 1992, p.6D]

There is no tension here. Actually, The Minus Man is minus a lot - intensity, a point of view, maybe even a point - and that equals an unsatisfying film.

If one of its points is to show that underused thirtyish actresses still are attractive, it succeeds with Leigh and Cates -- and Jennifer Beals, who also provides a flashback feeling playing Cummings' ex-squeeze.

Superficially gritty yet soullessly slick melodrama.

A Southern-style "Ocean's 11" without the pretty boys and Vegas attitude but with plenty of laughs.

Entertainingly epic eye candy.

Flaws and all, Men of Honor ultimately does its duty. It honors the feats of an incredible man.

Elle Fanning is wondrous in Phoebe in Wonderland. But the movie is an uneven, unfocused amalgamation of ideas and moods that is at times deeply moving nonetheless.

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.

It fails to live up to its early promise, mostly because of an uneven tone and murky character development