Ideally It Could Happen to You should be fun all the way, with the audience confident things will turn out right. Instead it's mostly annoying, with an ending that feels tagged on.

Star Trek: Insurrection is out there where the imagination collides with roaring spaceships, exotic planets, wonderfully nutty costumes, a few choice jokes and some fascinating ideas.

A goopy Gwyneth Paltrow movie.

A successful work of art. To see this movie is to feel that you've lived it.

A wish that there were more Michael Caines and fewer Muppets kept cropping up during The Muppet Christmas Carol, a movie whose mechanical cuteness becomes a too-complicated veil -- and a smothering one -- for the classic Charles Dickens story. [11 Dec 1992, p.C1]

A dazzling retelling of the J.M. Barrie tale, offers accomplished acting, splendid visuals, and in the role of the boy who won't grow up ... an actual boy.

Robots never stays in the same gear for long, and the abrupt shifts in tone kill the movie's chances of becoming a classic.

The richness of characters make this movie shine. It's just that, somehow, a certain sense of fire is missing.

One can argue the movie's finer points, but in the end, there's no escaping its creeping pile-up of evidence that Mother Earth is critically dehydrated - and we need to do something, fast.

All of which is to say that, when it’s Hanks steering the ship and fighting the Nazis, it means something extra. It’s not just happening to him, or them, but to us. And so, we can better imagine what it cost those guys, who had to make that back-and-forth ocean voyage in the awful months before their leaders figured out how to sink the U-boats.

The pace is slow and the story neither takes off nor arrives anywhere.

It doesn't analyze or explain it; it just presents it. The result is funny and disturbing at the same time.

There may be no more unusual movie around than Vengo.

The slow pace kills the sense of urgency, and the length and breadth of the film makes the story seem insignificant. Tarantino is still someone to watch, but Jackie Brown, before it's over, becomes a who-cares proposition.

Fraser and Bugs Bunny are the highlights of this pleasant but unoriginal film.

The film has a sweetness that stops short of sentimentality.

Has the three elements we've come to expect from Eastwood: the steady pace, the shadowy cinematography and, of course, the presence of the Big Guy.

As Westerns go, Silverado delivers elaborate gun-fighting scenes, legions of galloping horses, stampeding cattle, a box canyon, covered wagons, tons of creaking leather and even a High Noonish duel. How it manages to run the gamut of cowboy movie elements without getting smart-alecky is intriguing. But on the important issues, like real character development, Silverado flakes apart. [10 Jul 1985, p.52]

It's a handsome and entertaining small-scale picture with nice acting, some crisp (and some crude) dialogue and effective direction.

A charming if unoriginal coming-of-age story.

Mitchell may be another Russ Meyer -- a dubious honor -- but he's no Tony Kushner.

A handsome but gabby take on the standard survivalist thriller that's more concerned with lofty metaphysics than which poor blockhead is about to bite it next.

It’s a film sure to delight fans and make new ones of one of the movies’ most special personalities.

For all the filmmaker's good intentions, Fast Food Nation isn't a particularly good movie. It doesn't hold together or grip you the way a documentary might have.

Awesome, awesome action. Skimpy, skimpy plot.

A film that's hard to watch and hard to recommend.

The Salvation is one of those movies that deservedly (and desperately) requires a do-over. Unfortunately, what you see is what you get.

It's a very funny movie, perfectly paced. [15 Apr 1994, p.C1]