There is a funny movie lurking at the edges of Splash, and sometimes it even sneaks on screen and makes us smile. It's too bad the relentlessly conventional minds that made this movie couldn't have made the leap from sitcom to comedy.

An earnest but hopeless attempt to tell a parable about a man's search for redemption. By the end of his journey, we don't care if he finds redemption, if only he finds wakefulness.

A lot of the dialogue is intended as funny, but man, is it lame.

Painfully long, exceedingly tedious, consistently unimaginative and quite dopey.

If the movie is a lost cause, it may at least showcase actors who have better things ahead of them.

The filmmakers made no effort to empathize with their prehistoric characters, to imagine what it might have really been like back then.

Rampage might not be the worst movie of the year so far, but it’s a contender for most pointless.

In the earlier films, we really identified with the small cadre of surviving humans. They were seen as positive characters, and we cared about them. This time, the humans are mostly unpleasant, violent, insane or so noble that we can predict with utter certainty that they will survive.

Armand Assante, on the other hand, is one of the best movie actors of his generation. But he isn't very funny in Fatal Instinct.

Underwater breaks no new ground as a sci-fi horror flick — other than as a possible contender for the murkiest movie ever made.

(Li)'s scenes are so clearly computer-aided that his moves are about as impressive as Bugs Bunny doing the same.

Hoot has its heart in the right place, but I have been unable to locate its brain.

In a world already corrupted with Amy and Joey, and Woody Allen and Soon Yi, the last thing we need is a movie like "The Crush" masquerading as entertainment. [6 Apr 1993, p.29]

It's slick, it has impressive production values and the acting is appropriate to the material. So why did I find myself so indifferent to the movie? Maybe because it never generated any sympathy for its characters. This is filmmaking by the numbers, without soul.

Plays like a tired exercise, a spy spoof with no burning desire to be that, or anything else.

There are those who will no doubt call The Postman the worst film of the year, but it's too good-hearted for that.

An Innocent Man has all the elements to put us through an emotional wringer, but the movie never works up any enthusiasm for them. It's the most relaxed crime movie of the year.

This is not the story of a fugitive trying to sneak through enemy terrain and be rescued, but of a movie character magically transported from one photo opportunity to another.

At every moment in the movie, I was aware that Peter Sellers was Clouseau, and Steve Martin was not. I hadn't realized how thoroughly Sellers and Edwards had colonized my memory.

A witless recycling of the H.G. Wells story from 1895, with the absurdity intact but the wonderment missing.

The movie deserves more stars for its bottom-line craft, but all the craft in the world can't redeem its story.

The Hollars is an uneven, ineffective and self-conscious dysfunctional family comedy/drama with a Sundance-y vibe, and scene after scene in which the greatly talented and usually quite likable cast members keep stepping in big piles of wrong choices.

​I’ll tell you what got Taken. A hundred and twelve minutes of my life got Taken.

Stiller the director does a fine job of making Zoolander 2 look like an actual spy movie, but we’ve seen far better takeoffs, including “Spy” and “Kingsman: The Secret Service” in just the last couple of years. As for the jabs at the transient nature of popular culture and the ridiculousness of high fashion world — easy, tired targets.

In the lurid and cheesy and sometimes unintentionally funny political thriller Runner, one of the most intriguing and eclectic casts of the year is wasted in a murky cesspool that comes across as a third-rate version of “House of Cards” with a little bit of “Scandal” thrown in for bad measure.

Because the opening scenes of Sleeping with the Enemy are so powerful, the rest of the movie is all the more disappointing. The film begins as an unyielding look at a battered wife, and ends as another one of those thrillers where the villain toys with his victim and the audience.

It's surprising to see a director like Michael Apted and an actress like Jennifer Lopez associated with such tacky material.

Zipper might be entertaining enough in a campy way for you to watch it on demand as long as you’ve got a really big bowl of popcorn and an even bigger glass of wine (or the non-alcoholic elixir of your choice) to get you through. Might. Be.