The movie does have charm and moments of humor, but what it doesn't have is romance.

Not only am I ill-prepared to review the movie, but I venture to guess that anyone who is not literally a member of a Scooby-Doo fan club would be equally incapable. This movie exists in a closed universe, and the rest of us are aliens. The Internet was invented so that you can find someone else's review of Scooby-Doo. Start surfing.

It's not technically true to say the movie cheats, but let's say it abandons the truth and depth of its earlier scenes.

Because it is light and stylish and good-hearted, it is quite possible to enjoy, in the right frame of mind. This is more of a movie to see on video, on an empty night when you need something to hurl at the gloom.

This is the kind of movie that ends up playing on the TV set over the bar in a better movie.

A love story so sweet, sincere and positive that it sneaks past the defenses built up in this age of irony.

The movie has three tones: overwrought, boring, laughable.

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

The Host is top-heavy with profound, sonorous conversations, all tending to sound like farewells. The movie is so consistently pitched at the same note, indeed, that the structure robs it of possibilities for dramatic tension.

The screenplay creates a sense of foreboding and afterboding, but no actual boding.

It gets to the point where it hardly matters to us who lives and who dies, because they’re all stone-cold killers.

It's a screwball comedy. It's also, I have to say, a feel-good movie that made me smile a lot.

Silly and spectacular, and fun.

A brawny space opera, transplanting the conventions of Western, cop and martial arts films to the Red Planet.

It alternates between graphic, explicit sex scenes and murder scenes of brutal cruelty. You recoil from what's on the screen.

The result is not merely a bad film, but a waste of an opportunity. As he approaches 85, Winters is still active, funny, enthusiastically involved in painting and could have been the subject of a good film. This isn't it.

Super Mario Bros. is not without its charms. Chief among them is its army of giant, overcoat-draped Goombas: cheerfully stupid creatures with tiny reptile heads - and a soft spot for schmaltzy waltzes. And any chance to see Hopper get down with his bad reptilian self is not one to dismiss out of hand. He has a fine time with his dino-furrowed hair, flashing an exceptionally long forked tongue and instructing the pizza delivery man to hold the worms...But otherwise, King Koopa seems bored. [31 May 1993, p.21]

It wants to be "Midnight Run" meets "Planes, Trains and Automobiles," but it carries little of the dramatic heft and real-world semi-plausibility of those much superior efforts.

The great Jared Harris does what he can with an underwritten role.

Revenge plays like a showdown between its style and its story. It combines the slick, high-tension filmmaking fashion of today with the values and sexual stereotyping of yesterday. It's such a good job of salesmanship that you have to stop and remind yourself you don't want any.

Once Upon a Crime is not grand larceny, but not good enough to qualify for much more than rental viewing. [10 March 1992, p.27]

How could director Lawrence Kasdan and writer William Goldman be responsible for a film that goes so awesomely wrong?

The film is competently made, and the attractive cast emotes and screams energetically.

Dreadful...Maybe another 200 cigarettes would have helped; coughing would be better than some of this dialogue.

The Expendables 3 is proof a movie can be exceedingly loud and excruciatingly dull.

The film has the obnoxious tone of a boring home movie narrated by a guy shouting in your ear.

I stared at A Nightmare on Elm Street with weary resignation. The movie consists of a series of teenagers who are introduced, haunted by nightmares and then slashed to death by Freddy. So what? Are we supposed to be scared?

Desperate Hour is well-intentioned, and there are flashes of genuine dramatic tension, thanks to Watts’ performance. Mostly, though, it feels contrived and heavy-handed, with nothing really new to say about this well-traveled subject matter.