The story feels like a less complicated companion to "The Curious Case of Benjamin Button." Obvious logical questions are ignored. For instance, if she remains 29, does that make her immortal?

Like Rami Malek’s Freddie Mercury in “Rhapsody,” Ackie’s own voice is heard at times though mainly she’s performing to Houston’s own signature vocals. And the actress does an exceptional job capturing the pop singer’s mannerisms and performance style in those moments. It’s everything else in between that’s the real problem.

Dolly lost a fortune and helped to all but kill the genre, yet this famed musical adaptation of Thornton Wilder's The Matchmaker is more fun than its rep indicates. [15 Nov 2005, p.8D]

A John Hughes movie is 15 minutes of material stretched into a 90-minute feature by a rec-room rack from the Karloff estate; the only question is whether the 15 have their comic compensations. Uncle Buck has a few, though they're typically compromised by the cut-and-paste nature of the rest. [16 Aug 1989, p.4D]

Disappoints with its lack of character development and convoluted storytelling.

To its credit, the film isn't foolhardy enough to challenge the unbeatable Errol Flynn version on its own star-power turf. Gritty in most ways, broadly comic in some, and with a dose of the morbidly supernatural, this is a knowing variation at odds with quaint vintage-Hollywood reverence. [14 June 1991, p.1D]

Has all the requisite rampaging dinos, dizzying action scenes and, sure, a few flesh-and-blood heroes running around saving the day. But there’s just not enough underneath that well-trod surface — an intriguing ethical conundrum bears heady fruit at times, yet is just as quickly shelved in favor of roaring lava or unleashed reptiles.

John Singleton's bizarre but viewable Boyz N the Hood follow-up is surprisingly gooey going. [23 Jul 1993]

Because snowboarding is younger than skateboarding and surfing, Descent lacks the poignancy of past surfer/skateboarder portraits that have shown participants reaching middle age.

It’s a bizarrely off-kilter affair that’s forcibly heartfelt and sentimental in one scene and overly mean-spirited in the next, and not even a few choice moments and some enjoyable surrounding weirdos can help two A-listers in way over their heads.

For the first time in years (even counting his excellent work in “Internal Affairs”), Richard Gere's acting gears aren't too obviously apparent; Julia Roberts, though the breadth of her emotional range remains in question, is beautiful and can act - a not-bad blueprint for continued employment. [23 Mar 1990, Life, p.4D]

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.

Inspired and inspiring, this documentary about 7- and 8-year-olds competing for the U.S. Kids Golf World Championship is too fawning to be consistently gifted, but it manages to be occasionally, perhaps accidentally, profound.

Characters only exist as empty archetypal vessels and some of the wackier elements are laughably campy, but Refn’s sumptuous visuals and disco-synth score help give Neon Demon undeniably sinister style.

Contraband has a few moments of tension, but it adheres to a predictable heist formula hardly worth trafficking in.

Brothers never catches fire the way Gilliam's "The Adventures of Baron Munchausen" did. And you almost feel during subpar special effects that sweaty stagehands are pushing the trees around.

Enlivened by a strong cast, Cesar Chavez is a straightforward and inspiring account of a noble man.

As underwater adventure, Leviathan is so much like already forgotten DeepStar Six that they are crusted with the same brine. By the time they come to almost identical conclusions, you'll wish both were swimming with the fishies. [17 Mar 1989, p.4D]

More like a serving of lukewarm treacle than savory tikka masala.

I hated the original, but like this easygoing sequel. And unlike Home Alone, the filmmakers don't have to wreck real estate to earn some holiday- movie smiles. [21 Nov 1990, p.2D]

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.

Slight and only sporadically amusing.

It's easier to take Hi-Heel Sneakers by Tommy Tucker- more seriously. [20 Dec 1991]

More a matter of chemistry than deadlines.

Ryder's commitment is impressive. If her movie only had her courage.

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]

Glorious picture-postcard photography. [10 July 1998, p.8E]

RZA's directorial debut is heavy on bloody kung fu action...and light on just about everything else.