An ordinary film with ordinary characters in a story too big for it. Life has been reduced to a Lifetime movie.

Ansiedad is a smart charmer, and well-played by Cierra Ramirez, she should really be above this sort of thing - above the whole movie, really.

Watching this movie is like having a particularly unsatisfying Wordle session. You start off in promising fashion but in a few quick moves, nothing is in the right place.

The films portray the Klan as criminal, racist and anonymous, but those have always been its selling points; it is not portrayed as boring and stupid.

Offers modest pleasures. It is not an essential film, but if you go to see it, it will not insult your intelligence, and there's genuine suspense toward the end.

I was interested all through the movie--interested, but not riveted. I cared, but not quite enough.

Director Phil Alden Robinson and his writers, Paul Attanasio and Daniel Pyne, do a spellbinding job of cranking up the tension, they create a portrait of convincing realism, and then they add the other stuff because, well, if anybody ever makes a movie like this without the obligatory Hollywood softeners, audiences might flee the theater in despair.

The actors are splendid, especially Sarah Polley and Sean Penn, but we never feel confident that these two plots fit together, belong together, or work together.

I watched the movie with interest, yes, but not emotional involvement, and my appreciation of Moore was based more on her essence than on her character.

The movie turns cruel and ugly, and hasn't paid the dues to earn its last scenes. Parigi had me there for a while, but when he lost me, it was big time.

The movie is a creepy, unpleasant experience, made all the worse because it stars children too young to understand the horrible things we see them doing.

The real surprise of the movie is Eddie Murphy, who finds his character and stays with him.

Here is a great story born to be creepy, and the movie churns through it like a road company production. If the first three movies served as parables for their times, this one keeps shooting off parable rockets that fizzle out.

An undemanding formula picture that's a lot of superficial fun and not much more.

So the screenplay is a soap operatic mess, involving distractions, loose ends, and sheer carelessness.

It’s a putting-the-band-together origins movie, executed with great fun and energy.

Absorbing, if somewhat slow-paced, and has without doubt the most blood-curdling scene of live childbirth in a PG-13 movie.

A film with a rich and convincing texture, a drama with power and anger.

An ingenious attempt to update an old plot with new technology, and it is made with competence, skillful acting, and the ability to make us feel cleverer about digital stuff than we really are.

Curran’s script never digs deep enough.

A painfully stolid movie that lumbers past emotional issues like a wrestler in a cafeteria line, putting a little of everything on his plate.

There won't be a person in the audience who can't guess exactly how it will turn out. Yet it goes through its paces with such skill and charm that, yes, I enjoyed it.

Because it is slick and classy and good to look at, and the actors are well within their range of competence, you can enjoy the movie on a made-for-TV level, but you wish it had been smarter and tougher.

A dim-witted but visually intriguing movie.

One of the sly pleasures of Latter Days is the sight of this gay-themed movie recycling so many conventions from straight romantic cinema, as if it's time to catch up.

Perhaps because the film makes me feel so crawly, it is actually good. Yet still I cannot like it.

The movie is more slapdash than smooth, more impulsive than calculating, and it takes cheap shots. I responded to its savage, sloppy zeal.

One of the most profoundly stupid movies I've ever seen.