Pretty thin, but you grin while you're watching it.

Blanchett, Crudup and Gambon stand above and somehow apart from the absurdities of the screenplay.

Has the outer form of a brave statement about the races in America, but the soul of a sports movie in which everything is settled by the obligatory last play in the last seconds of the championship game.

It might work on video for viewers who glance up at the screen from time to time. The more attention you pay to it, the less it's there.

Harmless, brainless, good-natured fun.

The problem is, despite the efforts of the talented cast, the supposedly lovable former soldiers aren’t all that lovable, the primary human villain is a cocky fool with cloudy motives — and the predators don’t seem all that intimidating compared to a lot of the Earth-loathing alien invaders we see at the movies these days.

De Niro and Penn are both essentially serious dramatic actors, and maybe the reality of the location gave them such a solid grounding that they felt they had permission for the necessary goofiness.

Despite its flashy cinematography and colorful sets, it contains a great deal that is serious about growing up in America today.

Set aside your memories of the Conan Doyle stories, save them to savor on a night this winter and enjoy this movie as a high-caliber entertainment.

If Edwards had somehow found a way to really grapple with the implications of his story - if he had pushed to see how far he could go - Switch might have been a truly revolutionary comedy, on the order of Tootsie but more sexually frank. Unfortunately, he seems determined to make everything palatable to the sensibilities of the kinds of people who probably wouldn’t attend this kind of movie in the first place - and, in the process, he takes a daring idea and plays it safe. Too safe.

The Protégé isn’t trying to be anything more than slick, escapist action fare, but when you have the star power of the lead trio, a terrific supporting cast and what appears to be a sizable enough budget, it’s not too much to ask for a little something in the way of a cohesive script. Instead, we get two variations on the same twist, and an ending that’s both murky and irritating. Maggie Q and company deserve better.

It's all recycled material from other movies - all except for some nice personal touches added by the actors. They bring style to a movie that needs it.

Timecop, a low-rent "Terminator," is the kind of movie that is best not thought about at all, for that way madness lies.

This is an appallingly silly movie, from its juvenile comic overture to its dreadfully sincere conclusion.

A meandering movie that usually meanders in entertaining directions.

The film has been directed by Jonathan Parker; he adapted the Melville story with Catherine DiNapoli. It's his first work, and a promising one. I admire it and yet cannot recommend it, because it overstays its natural running time.

About reaching out, about seeing the other person, about having something to say and being able to listen. So what if the ending is in autopilot? At least it's a flight worth taking.

Sweet rather than exciting.

It’s an occasionally interesting, well-acted mess.

Muslim comics are correct about not needing to defend their faith in post-9/11 America. Their patriotism is not the point. I just wish they told better jokes.

Ted 2 feels like far too many other sequels: born of box office expectations more than a bona fide reason to return to the characters we loved the first time around.

Spacey does what can be done with the material, but it never achieves takeoff velocity.

The Theory of Flying is actually fairly enjoyable. At least it doesn't drown its message in syrup and cornball sentiment.

A clever movie until it turns excessively gory, "Bride of Chucky" leaves a nasty taste in the mouth. [19 Oct 1998, p.33]

The strength of Burger’s movie is the fact that a non-reader of Roth’s work can enjoy Divergent and not be confused by any aspect of the storyline.

With all that corn and cheese and old-timey sentiment, “The Greatest Showman” ends up scoring some very timely social arguments. P.T. Barnum himself would have approved the dramatic sleight of hand.

There’s virtually nothing subtle or surprising about the story, and yet one can’t help but smile throughout watching five Academy Award-winning actors breezing their way through an obvious but lovely and funny adventure.

This question, which will instinctively occur to many viewers, is never quite dealt with in the film. The photographers sometimes drive into the middle of violent situations, hold up a camera, and say "press!" - as if that will solve everything.