Sometimes it's the most remarkable and heroic figures whom movies can't seem to get right. Such is the case with Mandela: Long Walk to Freedom, a biopic that is more dutiful than illuminating.

While the ingredients are there to make a tense and compelling post-9/11 thriller, Rendition falls flat.

My One and Only has an old-fashioned sensibility -- and some lovely Mad Men-style costumes -- making for a pleasantly diverting road movie.

Nolte has his moments and is the reason to see the film, but he won't quite be the fait accompli shoo-in once Tides' Oscar panhandling begins. [24 Dec 1991, p.1D]

The story lacks honesty. For a film about the real problem of mental illness, it never feels authentic. Depression is not something neatly tied up. If this is meant as an allegory, it's vague and unconvincing.

Schneider, with his cherub curls and scrawny physique, adopts a pussycat persona that engenders goodwill.

With its fanciful razzle-dazzle, Rise of the Guardians is appealing, if slightly hectic, family fare.

Though the film is titled Hitchcock and ostensibly centers on the legendary director, we get a better sense of the women around him than the enigmatic filmmaker.

Mostly, Harold is a guilty pleasure that retains the anarchic charms of the original.

It's hampered by a listless quality and a one-note performance by porn-star-turned-actress Sasha Grey.

The true story of the recordbreaking Secretariat is pretty stupendous as is. It didn't need schmaltzing up.

Taken does have a few things going for it. At the top of that short list is Liam Neeson in the starring role.

Like an uneven album, the movie has some harmonious, authentically lilting moments and other off-putting ones.

The movie keeps you mildly interested all the way up to an elaborately staged final scene, yet it might give viewers the same queasy fooling-with-the-Holocaust feeling some felt for Roberto Benigni's "Life Is Beautiful."

A broad comedy and sometimes charming character study that takes a strange turn in tone and becomes a disappointing drama.

With admirable techno-savvy, the film upgrades the paranoia-propelled thriller and downloads it into the '90s. Reminiscent of a slew of films, including The Pelican Brief and The Fugitive, The Net - ploddingly directed by Irwin Winkler - is frustratingly average in almost every other respect, however. [28 July 1995, p.5D]

As holiday heartwarmers go, The Santa Clause is an amusing stocking stuffer, a sitcom-superficial novelty that jingles many of the same bells as last year's "Mrs. Doubtfire". [11 Nov 1994 Pg. 12.D]

James Cameron’s third adventure in his blockbuster sci-fi franchise, is just as cool a watch as the previous films, yet also as narratively frustrating. Endless subplots, scattershot character development and borrowed story beats backfire on “Fire and Ash,” although it does benefit from an unhinged but relatable villain whose presence keeps it interesting.

Zealots flip over Endgame.

Despite its flaws, its intriguing premise leaves us haunted by thoughts of "What if?"

The TV Set skewers the television industry in a manner that occasionally feels familiar and at other times is humorously incisive.

It's an uneven experience, with some evocative moments and others that don't resonate as much as they should.

Unlike his tough guy roles in "Taken" or "Non-Stop," Neeson is at least given some good dialogue. And he's a jot more world-weary than kick-ass here.

While “Folie à Deux” embraces a heightened, even cartoonish quality in continuing the story of Phoenix’s troubled soul, Phillips really misses a chance to go full musical and do something truly different. Just dipping its toes in that genre, with those strong performers, is enough to drive you mad.

There's a riveting tale within this awkward litany of pivotal moments. Still, despite the film's uneven nature, Cotillard's extraordinary performance is worth experiencing.

You don't have to believe in far-fetched tales of mysterious beams of light and alien abductions to get caught up in The Fourth Kind.

The film is loaded with a gripping plot and enjoyably sketchy characters but hobbled by an uneven tone that ricochets between zany comedy and serious crime thriller.

At least a few good things are found in this small package.