Somehow I kept waiting for the movie to get back on track - to get back to the zany comedy I thought I'd been promised. My problems with Cadillac Man were probably inspired more by false expectations than by anything on the screen.

This movie owes so much to the "Road Warrior" pictures that I doubt if it could have been made without them. Since the movie so clearly required great dedication, especially in its visual effects and the use of its desert locations, I can only wonder why they didn't spend equal effort on finding an original story to tell.

Do you like this sort of rom-com? It's a fair example of its type, not good, but competent.

Working within the limitations of the star rating system, I give four stars to the subjects of this movie, and two stars to the way they have been boiled down into cute pictures and sound bites.

The baseball action isn't very interesting because the angels (led by Christopher Lloyd) manipulate the outcomes. And the human interest stuff is canned and unconvincing.

The Finest Hours feels stitched together. None of the three main plot lines is particularly powerful or moving.

But the second act is pandering and the third is trickery, and whatever Fincher thinks the message is, that's not what most audience members will get.

Jim Carrey works the premise for all it's worth, but it doesn't allow him to bust loose and fly.

The movie tries for poetry and elegy in its closing scenes, and we can see where it's headed, although it doesn't get there.

"Kolya" was as emotionally authentic and original as Dark Blue World is derivative and not compelling.

I could not for a moment believe that this movie was intended as a plausible portrait of how casinos work, how gamblers work, and especially of how casino managers work. To enjoy this movie, you need more than a willing suspension of disbelief. You need a faith in disbelief.

Watching Just My Luck, I wished I were a teenage girl, not for any perverse reason but because then I might have enjoyed it a lot more.

Gets off to a start that's so charming it never lives it down. The movie is all anticlimax once we realize it's going to be about gimmicks, not characters.

Poignancy. Lessons to be learned. Speeches to be made. Lost marbles to be rediscovered. Tears to be shed. The conclusion of Hook would be embarrassingly excessive even for a movie in which something of substance had gone before.

Not a very entertaining movie; it's a long slog unless you're fascinated by the undercurrents.

I am not a mind-reader and cannot be sure, but I think a lot of children are going to look at this movie with perplexity and distaste. It's just not much fun.

A pointless exercise in "shocking" behavior.

It doesn't even inspire a put-down. It just lies there in my mind -- a big, heavy lump. But in the midst of it, like a visitor from another movie, Lee Marvin desperately labors to inject some flash and sparkle. And he succeeds in bringing whole scenes to life. A good actor can do this, but it's a waste when he must.

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

El Crimen Perfecto has energy, color, spirit and lively performances, but what it does not have are very many laughs.

Mad City might have been more fun if it had added that extra spin--if it had attacked the audience as well as the perpetrators. As it is, it's too predictable.

So enigmatic, oblique and meandering that it's like coded religious texts that requires monks to decipher.

It's too involved in administering its reversion fantasy to acquisition-guilty yuppies to cast an eye on its own venture status. And the contradictions don't stop there. That this celebration of the Peter Pan syndrome was directed by a woman, Penny Marshall, adds another layer of dishonesty. [3 Jun 1988, p.31]

This movie has a screenplay written and filmed by people who must think nobody in the audience has ever seen a movie before.

All of this promising material is dealt with on that level where characters are not quite allowed to be as perceptive and intelligent as real people might be in the same circumstances.

Despite the frequent verbal confrontation scenes in which characters lash out at one another, soap opera style, for lying or serving their selfish interests, Dark Phoenix doesn’t come close to carrying the emotional impact of so many Marvel Universe films where the characters come across as complicated, relatable and three-dimensional.

Take away the basic human appeal of Fox and his love interest, Gabrielle Anwar, and what you have left wouldn't fuel 22 minutes of a sitcom.

This is the kind of movie that some kids would probably enjoy - it's filled with technology, special effects and action. But it just doesn't make any sense. And It lacks the wit to have fun with its time travel paradoxes, as last year's wonderful Time After Time did. It just plows ahead. Or behind. Or somewhere.