An authentic-looking Jeff Bridges goes for the grit in an incoherently arty rendering (full of fuzzy-focus black-and-white flashbacks) filmed by action veteran Walter Hill. [01 Dec 1995, p.13D]

The actress may get an Oscar nomination for the wrong movie -- "Moulin Rouge" over "The Others" -- but it would be a double misfortune for audiences to overlook a performance that boosts its movie from moderate to memorable.

A tasty bonbon, initially appealing but not terribly satisfying.

Mulroney is a drip with not a milliliter of chemistry with either woman. Roberts doesn't really seem to care about him so much as the fact that life is passing her by. Though, that may be the point.

Until its dopey coda, the film never all-out stumbles, but always exudes Pakula's trademark chilliness. [17 Dec 1993 Pg. 01.D]

The good-natured silliness is contagious. When Streep runs singing through a Greek village, it's like a spirited homage to "The Sound of Music."

Even though Think Like a Man espouses something akin to the philosophy in Beyoncé's Single Ladies(Put a Ring on It), it makes manipulation more fun than it ought to be.

Thank the wizardry of Jim Henson's Creature Shop, well-choreographed martial-arts fights and sharp direction by video whiz Steve Barron (he did Michael Jackson's Billie Jean) for keeping these comic-book heroes from going amok like Howard the Duck. [30 Mar 1990, p.1D]

In its focus on an ordinary family facing a nightmarish scenario, Snitch is a terrifying but relatable story.

What starts as a bright and bouncy time-waster that at least borrows from the best of its genre-defining ilk -- "Fast Times at Ridgemont High", "Clueless", "Carrie", "The Breakfast Club" -- eventually stumbles into sappy message-movie territory. [29 Jan 1999, p. 09E]

Despite corny one-liners and plot developments that don't always hold water, Aquamarine rises above the flotsam filling theaters this time of year with a likable tale of friendship and charming performances.

By the end of the movie, all we want is for Barrymore to give him the time of day.

It's a maudlin, superficial exercise in obsession masquerading as a heartfelt romance and study of grief, and character development is sorely lacking.

A sweet, inspirational movie that doesn't offer any surprises, but entertains youthful audiences in a gentle, almost old-fashioned way.

There's, say, a 20-minute stretch where this slapstick works; there's also a subplot about N!Xau's lost children (cute, but shruggable), and a real pace-killer involving two rival soldiers. Uys' shots often fail to match, and the monotonic narration really grates; it drones on like a junior high science film on plant blight. [16 Apr 1990, p.9D]

To cut Noe a break, it does become evident that he has a viable narrative concept. Told backward, á la "Memento."

Somehow Statham comes out of this improbable thriller with his dignity intact.

The kind of well-acted, genuine heartwarmer that some people complain Hollywood doesn't bother making anymore. And in this case, Hollywood didn't.

His (Myers) affection for the era and its gaudy, bawdy movies inject this bit of fluff with giddy energy.

This is one Road whose gold apparently got paved over.

This film highlights some of the best, and raunchiest, of his humor.

Never reaches much beyond the surface, and what lies there is all too predictable.

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.

A visually sumptuous effort with wondrous sights, though its character development falls short of those same heights.

At times it feels like a good thing but way too often reminds you that you’re trapped for an hour and a half.

The jokes often are corny or labored, and the story is predictable. However, Atkinson raises the movie to the level of good fun by the force of his outrageous persona and skill at physical comedy.

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

Savage Grace is a thoroughly disturbing story, told in a detached style rendering the overall experience an unsettling blend of lurid and vacuous.