Oliver Stone's Wall Street plays like "Platoon" in civvies. It's a good bad movie, unable to muster the moral firepower of the earlier film, but entertaining on the level of a big, bold, biff-bam-pow comic strip that likes high-profile high-rolling more than it perhaps realizes. [11 Dec 1987, p.45]

The attempts to supply heart are never more than synthetic, but Schwarzenegger, as the good guy with the good genes, and his goofy sweetness lift Twins into the win column. [9 Dec 1988, p.33]

There's always something touching about the diligence with which Schwarzenegger soldiers through his assignments. There's a play of intelligence and decency in his eyes that exists quite independently of his bashing. Of the Hollywood tribe of virile fists, he's the one who seems most sensitive. [17 Jun 1988, p.31]

Richard Attenborough's film version of the long-running Broadway musical hit A Chorus Line not only avoids the disaster that many had predicted for it, but is often surprisingly effective and enjoyable, transcending its troubled history. [20 Dec 1985]

It's not quite as jolting as the high-impact original, but it's got enough explosiveness to blow away the other sequels in this summer's parade of high-body-count blockbusters. [4 July 1990, p.29]

There are times when "Star Trek V" seems padded and low-impact, but there are things to like, too. [9 June 1989, p.81]

It's good cornball mainstream sci-fi, as close to brand-name reliability as this genre gets. [18 Nov. 1994, p.47]

The ensemble quality is high and likable, even if Baumbach's inventiveness as a writer falters after the film's sweet, savvy beginning. [12 June 1998]

Its pile-driving succession of set pieces comes at you with numbingly relentless efficiency, presumably in the hope that you won't notice or care how dumb it all is.

Hell itself is going to hell in Sandler's new comedy.

The B-movie is still very much with us.

It's too psychically flat and dramatically inert. Instead of reinvigorating a Hollywood classic, Burton only takes it to camp.

More machine than mean, although it's anything but a smoothly running operation.

She's (Dunst) the big reason the film rises above instantly rejectable formula to campy pop.

Conspicuously short on the kind of texture that makes us feel we're watching real people living real lives.

A flimsy sister act.

'Trainspotting'' Lite.

Any ESPN commercial at all leaves it in the dust when it comes to imaginative firepower.

You'll laugh at Bones a lot more often than you'll be scared by it, assuming you'll be scared at all.

Dramatically speaking, The Caveman's Valentine is a dead end.

Blew its chance to be an epic drug opera. It's only nostril-deep.

There's a whole lotta latex goin' on. The trouble is that not enough else is going on.

Supposed to be a cheeky little lark but instead runs a narrow gamut from labored to aimless.

About everything is big in The 13th Warrior except the writing, which is microscopic.

Has more ambition than the usual serial killer film, but curiously less urgency.

Although dated, it's not a bad musical.

What saves it is that it's lighter than mousse and is animated by a handful of engaging performers.

There's nothing really wrong with Agnes Browne, except a tendency to take a few easy, convenient outs.