Initially an amiable sci-fi thriller that toys with the paradoxes inherent in time travel, it finally gets drunk on them. It becomes an incomprehensible stew of versions and revisions, until there's no there there and no then then.

Unlike Julia Roberts in "Pretty Woman," Lopez seems a little too comfortable in her new duds, which prevents the audience from rooting for her with passion, rather than just appreciation.

This picture evaporates midway through because the story itself is a one-liner. Yet it also has a cast that gets into the silliness.

Nothing really connects; it's not fluid and roaring but a collection of set-pieces. [25 Feb 1994]

This fake-feminist thriller hides its sadism under a show of sympathy for its beleaguered heroine.

All the young talent in Hollywood is not enough to energize a movie that takes forever to get nowhere.

The Wild suffers from a breakneck pace that seems to exist only so that director Steve Williams can earn his nickname of "Spaz."

There's many a slip between the page and the stage, to which The Edge, starring Anthony Hopkins and Alec Baldwin, ploddingly attests. [26 Sep 1997]

It bears roughly the same resemblance to the Bennett Miller-Dan Futterman-Philip Seymour Hoffman masterpiece as the now-forgotten "Valmont" did to "Dangerous Liaisons."

This fourth "Terminator" film is the ultimate heavy-metal parody. Better make that travesty, because there are next to no moments of comedy.

It might be a solid hook if we thought their love was grand. Instead, it's kind of creepy.

So much love has gone into the physical details and the music of Robert Altman's Kansas City that it's a shame the movie isn't up to the effort. It's a movie you yearn to care for, but it refuses to allow you: It's too busy being singular to be good.

A film made by people with more heart than skill.

Bubble is the moviemaking equivalent of the worst narrative journalism. Every bit of "human interest" is so painstakingly planted, so determined to be applauded for its observation and sensitivity, it ends up seeming as slick and bogus as the worst Hollywood blockbuster.

Forgive me for being underwhelmed.

Spending more time with Downey's character would have benefited this movie no end.

The Matrix Revolutions blends feather-brained, starry-eyed camp and rock-'em-sock-'em spectacle -- so it's at least more entertaining than the second Matrix film, which hung in the air like a noxious cloud.

The political correctness of Class Action verwhelms its sense of life. It turns into just another movie. [15 Mar 1991]

Standard-bore action stuff, in which a macho stud superstar blows away lots of bad guys while struggling to make the world a better place.

The special effects turn out to be not very special and not very effective, and the movie never achieves the lunatic grandeur of the truly demented. Stargate is strictly for the peanut gallery.

How much adorable can one person take?

If you change the course of history, the world will experience a different kind of chaos. That's a time-honored movie cliche. Terminator 2: Judgment Day chooses to go against that philosophy, noisily and with some monotony.

Those who come to the movie cold will find it an exasperating assembly of brutal pedantry and whimsies, boasting far less charm or grace than even the first Harry Potter picture.

Any chance to generate atmosphere or sustained comedy and melodrama goes down the tubes, often literally.

Eastern Promises is intensely anti-dramatic.

Like an over-packed three-scoop cone -- it melts into a mess while we're still slurping away.

Plays like a remake - not of "Knights of the Round Table" (1953) but of director Antoine Fuqua's previous "Tears of the Sun" (2003).

Signs of fatigue are all over the film itself.