It's a much better bad movie than the first one. It isn't often in Hollywood that a director gets the chance to go back and essentially remake a failed film but Lambert, refusing to let sleeping cadavers lie, gets the job done this time. [28 Aug 1992, p.50]

Ignore the hype. You won't find anything startling or memorable in the derivative Hide and Seek.

The script is a little too clunky to serve Ricki Lake well, and Richard Benjamin's direction is a bit too sluggish to disguise her limited range as he crams this romantic fairy tale a little too forcefully into its predetermined mold. [19 Apr 1996, p.53]

Botches the chance to delve into the personality of a complex, alluring, and free-spirited woman.

The flat tire of summer movies.

A movie where the miracles -- and treacly moments -- keep topping each other.

The Host will make perfect sense to 12-year-old girls, while their college-age sisters will probably laugh themselves sick and their mothers will look at Hurt and wonder when he got so old.

Isn't for the kiddies. It probably isn't for anyone not interested in the darkest corners of the human psyche.

The copious violence, as always, is an assault - even aurally, as every thudding knife strike is made to sound like a boulder dropping on the theater.

It's a movie so late in noticing a shift in American male grooming that for a documentary on the subject to work, Spurlock would either have to pitch it to our grandparents (or be a grandparent) or trace the arc of the shift and unpack it.

If you doubt that August is the boneyard for movies too poor to release in other months, here’s The Kitchen, an addled and actively unpleasant crime comedy-drama with a high-profile cast and a mean streak a mile wide. Based on a limited-edition comic book and completed in July 2018, the movie’s been sitting on the shelf until enough people are on vacation to not see it.

A disjointed patchwork of zany character sketches lacking in coherence and credibility.

We haven't had a good Frankenstein, Dracula, or Wolf Man movie in a long time, so here's one where the whole gang shows up. One catch: It's not good.

You won't feel raped by it, but you well may feel that it's too ideologically earnest for the porn crowd and too hard-core for serious audiences.

Slides instantly into the realm of the forgettable.

Unfunny, predictable, and vulgar, it’s the generic equivalent of a Judd Apatow movie. As always, you get what you pay for.

So light it should wind up on the ''diet" shelf of the video store.

Deal doesn't really care about the characters as much as it does the World Poker Championships, where Tommy and Alex end up. Once we get there the movie becomes interesting because Cates understands the game and its dramas a lot better than he understands people and theirs.

Even at 104 minutes, practically a short by superhero-movie standards, Morbius feels draggy.

Revenge degenerates into a macho dance between Costner and Quinn, with the film chewing up and spitting out Stowe's character in troubling ways. [16 Feb 1990, p.89]

The longer it takes for the eldritch glop to hit the fan, in fact, the less true the movie may be to King. For better and for worse, Dreamcatcher is true to King.

Overall the results are amiable, if also slack and talky.

It’s a preposterously overstuffed strategy that, go figure, not only works, but even cures a thing or two that ailed the previous movies.

It is Close's performance that gives the movie its oomph and will leave adults with smiles as wide as the kids'.

Comes tantalizingly close to being interesting.

Once the “what is real, what is fantasy” questions are answered, and exorcism part deux commences, The Last Exorcism Part II abandons its half-intelligent, tender exploration of Nell’s vulnerability and desirability

It's that awkward, tedious monster mash of "chick flick'' and romantic comedy.

At nearly two hours, Mirrors is overlong for a summer horror toss-off, and the movie's three or four false endings make it seem even more of a haul.