Made gripping almost single-handedly by Blanchett's superlative performance.

Kasdan hasn't lost his touch at gathering terrific ensemble casts, although the performances are uneven.

Crisp craftsmanship has fashioned a great day at the movies from the worst day of Ralph Kramden's life. [10 Jun 1994 Pg. 01.D]

PCU is less a blatant ripoff of Animal House than a fond homage. This '90s update on campus life never reaches that landmark comedy's inspired heights (or depths, as it were) of anarchy. It also could use a waggle or two of John Belushi's bushily subversive eyebrows....But actor Hart Bochner's directing debut - aided by zippy camerawork - still offers a laugh-propelled good time while tweaking political correctness gone amok at Port Chester University (PCU). [29 Apr 1994, p.5D]

If anything, Grant seems to be getting funnier, and he now has the ability to elevate material the way another Grant -- Cary -- did.

Instead of scoring belly laughs, there's a run on randy guy banter between Duchovny and Jones.

A gifted cast was bogged down by a treacly tale.

Melodramatic and gritty Filly Brown marks the debut of a magnetic screen presence in Gina Rodriguez, as well as the final performance of singer Jenni Rivera, who died in a plane crash in December.

An unusual walk down the aisle.

Only a smattering of the potential is realized in this tolerable disappointment, which is so unworthy of getting angry about that it will still become a knee-jerk hit.

Oblivion is a slick spectacle — seeing the humorless but ultra-fit Tom Cruise wrestle with himself might be worth the price of admission alone.

A further dose of "been there/done that."

Has its moments -- and almost as many subplots.

The Grand is in the grand tradition of Christopher Guest "mockumentary" comedy satires: Its greatest asset is its eclectic, quirky-funny cast.

It's a chick flick with a likable premise.

Yet the film's most serious flaw (next to a newly concocted fizz-out ending) is that it's not sinister enough. [30 Jun 1993 Pg. 01.D]

If Mel Brooks were to team up with Tim Burton, the result might be something like the loony and colorfully tantalizing animated film Igor.

One of those movies that makes for a fantastic trailer. Much beyond that can feel like repeat viewing.

Blues (hard-) boils down to a question of style in a movie spring when style is at a premium. I'm glad it exists, I wish it were better, and there'll be plenty of readers who think I've under- and overrated it. [20 Apr 1990, p.4D]

Give Anderson credit for at least sustaining a mood. This is the kind of all-or-nothing movie in which a filmmaker probably can't waver from his tone.

Johansson is not Allen's new Diane Keaton. She's closer to Mariel Hemingway -- though even Allen couldn't attempt to pull off a romance between his septuagenarian self and a girl in college.

Vaughn could have used an editor, but Wild West still is a romp with a likable bunch.

A more sure-footed shoot-'em-up that finds some heart, wit and perhaps enough momentum to spawn a formidable action franchise.

Here's Jackie Chan playing twins separated at birth, though not as separated as English is from the actors' lip movements in this silly, speedy, wretched dubbed action goof. [16 April 1999, Life, p.8E]

The longer the movie goes, the more its 133 minutes prove wearing. The story tries to develop a love angle between Jackman and Janssen, but it doesn't begin to take. And the finale is particularly weak.

Broderick has the film's most clever lines, but Snow is quite funny and is convincing as an innocent lured by the promise of easy money.

Predicating an escapist romantic comedy on a realistic tragedy requires a nimble touch at the helm. Perhaps if Life had been made by, say, James Brooks, it would have worked.

The movie feels like a long-form version of the popular Nickelodeon cartoon series on which it's based, which probably won't bother Arnold fans.