The movie is clearly intended for girls between the ages of 9 and 15, and for the more civilized of their brothers, and isn't of much use to anyone else.

There are laughs in the movie, and a lot of good feeling, but it seems more interested in its Italian stereotypes than its gay insights.

The first three minutes convince us we're are looking at a commercial before the feature begins. Then we realize the whole movie will look like this.

Home Again has a certain charm and polish. It’s hard not to like people who are so … likable. But it’s also hard not to feel a constant sense of disconnect from these characters and their so-called “crises.”

Venom: The Last Dance is dopey and silly and filled with familiar stock characters and well-worn tropes, but it’s almost never ponderous.

There is no need for this movie. That's true of most sequels, but it's especially true of Smokey and the Bandit II, which is basically just the original movie done again, not as well.

Nobody’s ever going to match Bogart’s iconic work opposite Lauren Bacall in Howard Hawks’ 1946 classic, but Neeson delivers a reliably powerful, world-weary, “I’m too old for this s---!” performance in Neil Jordan’s exquisitely photographed and sometimes convoluted but thoroughly enjoyable period piece.

Little Ashes is absorbing but not compelling. Most of its action is inward.

Sometimes it's all about the casting. The notice of a screening came around, I read the names Al Pacino, Christopher Walken and Alan Arkin, and it didn't matter in a way what the movie was about - although it didn't hurt that it was a crime movie.

Its moments of fascination and its good performances are mired in the morass of romance and melodrama that surrounds it.

It's a kid movie, plain and simple. It didn't do much for me, but I am prepared to predict that its target audience will have a good time. I'm giving it two stars. If I were 8, I might give it more.

Hellbound: Hellraiser II is like some kind of avant-garde film strip in which there is no beginning, no middle, no end, but simply a series of gruesome images that can be watched in any order.

Shatner and Smart have a comfortable chemistry, and it IS nice to see a movie romance between two people who remember the 1960s. It’s just too bad they’re in a vehicle that isn’t nearly as impressive as that vintage Porsche.

Time and again, Ride Along comes up with a clichéd setup — and then blows the payoff.

The film is a gloomy special-effects extravaganza filled with grotesque images, generating fear and despair.

To laugh at parts of this film would indicate one has a streak of Woodcockism in oneself. But to gaze in stupefied fascination is perfectly understandable. That's what makes Thornton such a complex actor.

It’s an ambitious reach, and the talented cast of mostly familiar names is game for the challenge, but Crisis goes over the top with too many key plot developments. The end result is a serious case of Messaging Exhaustion.

The story is sometimes overwritten, often overwrought, includes an overheard conversation on the "Nancy Drew" level, and yet holds our attention and contains surprises right until the end.

Wildcats is clearly an attempt by Hawn to repeat a formula that was wonderfully successful in "Private Benjamin": Wide-eyed Goldie copes with the real world. It was less successful in "Protocol," and now it's worn out altogether.

The Amazon Prime original movie Tom Clancy’s Without Remorse has to be considered one of the more disappointing films of 2021 so far, given the long and rich history of entertaining adaptations of Clancy’s work and the vibrant star power of its leading man.

Sandler is making a tactical error when he creates a character whose manner and voice has the effect of fingernails on a blackboard, and then expects us to hang in there for a whole movie.

This is the kind of movie you sort of like, and yet even while you're liking it, you're thinking how much better these characters and this situation could have been with a little more imagination and daring.

A long slog through perplexities and complexities.

A high-speed, high-tech kiddie thriller that's kinda cute but sorta relentless.

The movie is pleasant enough, but never quite reaches critical mass as a comedy.

Moonfall is the kind of film that doesn’t take itself seriously and yet really doesn’t have a sense of humor about the ludicrous nature of its very existence.

The movie is astonishingly simple-minded, depicting characters who obediently perform their assigned roles as adulterers, cuckolds, etc.

While Olympus Has Fallen breaks no major new ground in the political thriller genre, Fuqua has directed a sharp, very taut adventure that keeps you engrossed from start to finish.