A tautly paced, well-acted espionage thriller with the requisite explosions and action sequences. Still, it ends up leaving the viewer rather cold.

The tale of the resistance movement in Belorussia is undeniably inspiring and ideally suited for a cinematic rendering. But Defiance resists bold, passionate storytelling and delivers something rather conventional.

The documentary is enjoyable, though it could have been edited more tightly. The ending, in which three of the contest participants write and perform a catchy pop song, is buoyantly fun.

Lively, educational and intermittently amusing. The fun, however, grows strained and formulaic as the movie goes on.

Truth is, Idaho is nothing but set pieces; tossed into a mix whose meaning is almost certainly private. [27 Sept 1991]

The movie just gets by on heart and a conversation-stopping finale. [28 Jul 1995, p.5D]

It exists somewhere between serious character study and satirical fish-out-of-water story, never figuring out which it wants to be.

For its stunning iridescent look and infectious music, Rio is a refreshing adventure worth taking.

Older youngsters not threatened by PG-13 levels of intensity might pester Mom and Dad to let them see this cinematic fluff-head. For everyone else, it simply is what it is -- which, despite a budget that could feed Star Wars' Jabba the Hutt for life, isn't very much. [07Feb1997 Pg 04.D]

Despite its title, Prime is not a cut above. This romantic comedy's predictability and rather dull love story make it the cinematic equivalent of a slightly stale hamburger.

The music by Outkast is great, and the rowdy, randy en masse dance sequences are riveting. The story, however, is rather thin and lacks focus.

Seeing Noises Off the movie is better than waiting for it to arrive at the local dinner theater. But served in a setting devoid of spontaneity, Off just seems a little off. [20 March 1992, p.4D]

This is one of those movies in which a strong ending might have made all the difference...But the wrap-up is unsatisfying, with too many questions unanswered.

There isn't much Napoleonic grandeur in this Idaho-set high school comedy, which in spite of its most condescending instincts, does have its moments.

Though entertaining, Spurlock's lighthearted approach doesn't work as well here.

True Story is an intrinsically fascinating and occasionally riveting tale marred by unnecessary embellishments.

Capably made and certainly impresses by carrying its length, but it doesn't expand 60 years of World War II screen literature by very much.

This sweetly eccentric and low-key buddy picture/bromance bears little resemblance to more well-known examples of the genre, such as "Lethal Weapon" or "Pineapple Express."

Pacific Heights may not have a psychopath worthy of Psycho. But it has a timely moral: Never rush to buy in a sluggish housing market. [28 Sept 1990, p.9D]

There are plenty of strong performances, and LaBeouf does a nice job of becoming the tough-skinned pragmatist. Mulligan is as earnest as ever, and Susan Sarandon and, particularly, Frank Langella make strong cameos.

Easygoing and easy to take, the movie isn't much.

The breezy and sometime absurd Fading Gigolo is reminiscent of vintage Italian films and early Woody Allen movies.

Based on a popular children's book by Chris Van Allsburg and directed by that "Honey, I Shrunk the Kids" guy Joe Johnston, Jumanji is a calculated but very entertaining special effects extravaganza. [15Dec1995 Pg. 01.D]

Part of the appeal is the underlying theme of the torch being passed between generations. Think how disappointing it would have been had Dana become an insurance actuary instead of a surfing filmmaker.

The recent model for this kind of surreal jazz-riff comedy is Doug Liman's 1999 "Go," a neo-classic. But you know already from the director (Dude, Where's My Car?'s Danny Leiner) if this movie is for you. Leiner has cornered the recent market on low-rent farces.

It's a sweet and mildly funny movie that will entertain young audiences, but one aspect is utterly mystifying: The two main characters, father and son bovine creatures, have large, distracting udders.

The music is the uncontested highlight of El Cantante.

The starship Enterprise is back, piloted for the first time (from behind the camera, that is) by William Shatner. Though he doesn't exactly parallel-park Star Trek V: The Final Frontier into a meteor, the journey is (at best) an amiably lazy Sunday drive. [9 June 1989, p.4D]