While both have Broadway-level pipes, neither has a particularly distinctive, knock-it-out-of-the park voice. It doesn’t help that the songs, while solid, become repetitive in melody. And there’s not a home run in the bunch. I walked out humming … nothing from this movie.

The sideshows in Gummo offer no particular form -- or even formlessness -- despite the visual momentum created by Jean Yves Escoffier's arresting camera work. [6 March 1998, p.40]

The screenplay, written by first-time director Marc Fienberg, fervently stays true to an ancient sitcom tradition.

After the bite and freshness of "Analyze This," Mickey Blue Eyes plays like an afterthought.

All of this grows tiresome. We're given no particular reason at the outset of The Loneliest Planet to care about these people, our interest doesn't grow along the way, the landscape grows repetitive, the director's approach is aggressively minimalist, and if you ask me, this romance was not made in heaven.

When I heard that John Cusack had been cast for this film, it sounded like good news: I could imagine him as Poe, tortured and brilliant, lashing out at a cruel world. But that isn't the historical Poe the movie has in mind. It is a melodramatic Poe, calling for the gifts of Nicolas Cage.

The story touches many themes, lingers with some of them, moves on and arrives at nowhere in particular. It's not a story so much as a reverie about possible stories.

The movie remains an actor's exercise--too much dialogue, too much time in the room, too much happening offstage, or in the past, or in memory, or in imagination.

Might be fun for younger teenagers who want to be reassured that people in their 30s still behave like younger teenagers.

Lethal Weapon 4 has all the technical skill of the first three movies in the series, but lacks the secret weapon, which was conviction.

Pesci has a lot of scenes that strike just the right note.

Tessa Thompson’s performance is the best thing in the movie, in part because she’s playing a character who genuinely respects the legacy of the Men (and Women) in Black and is thrilled to be part of the team.

The first five or 10 minutes of Airplane II -- The Sequel are genuinely funny -- so funny I thought maybe this movie was going to work. That turned out to be a premature hope. The new inspirations quickly run out, and Airplane II turns into a retread, plundering the same situations and characters that made the original Airplane so funny.

Heaven help the unsuspecting families who wander into Adam Sandler's Eight Crazy Nights expecting a jolly animated holiday funfest.

Grumpier Old Men is not terrifically compelling, although it is probably impossible not to enjoy Matthau and Lemmon acting together.

The movie's funny in the opening scenes and then forgets why it came to play.

Now let me ask you: Can you think of any reason the character John Miller is needed to tell his story? Was any consideration given to the possibility of a Chinese priest? Would that be asking for too much?

An admittedly distinctive but ultimately mediocre movie that provides far more empty calories of exploitation than genuine food for thought.

The problem is, the story lacks originality and zest.

The photography is undeniably beautiful, but there comes a point when we've had too many mountains and too little plot. All that holds the movie together is the screen persona of Eastwood, who is so convincingly tight-lipped that sometimes you have the feeling he knows what's going on and just won't tell.

A moody, brooding and sl-o-o-o-o-owly meandering tale that works its way, almost reluctantly, toward the violent finale — which also manages to be remarkably passive and anti-climactic.

The film chronicles their criminal career in a low-key, meandering way; we're hanging out with them more than we're being told a story.

On the stage, it could be a powerful and moving work. As a movie, it’s a sometimes effective but more often tedious history lesson.

[Stone] gives us provocative notes and sketches but not a final draft. The film doesn't feel at ease with itself. It says too much, and yet leaves too much unsaid.

That this is such a well-made production, with passionate and strong performances from the stellar cast, makes it all the more exasperating. What a missed opportunity

The movie plays like the kind of line a rich older guy would lay on a teenage model,suppressing his own intelligence and irony in order to spread out before her the wonderful world he would like to give her as a gift.

There is a lack of drama and telling detail. When events happen, they seem more like set pieces than part of the flow.

Plummer and MacLaine are, of course, consummate talents, but they’re left coasting in a film that provides each with the barest of character sketches.