A movie that I find oddly touching. It is no doubt too thoughtful for the summer action season, but I appreciate the quietly realistic way Shyamalan finds to tell a story about the possible death of man.

The cinematography has a washed-out, dull tone. The special effects are mediocre. With a few exceptions, the dialogue is stilted and filled with expository passages so obviously intended to explain things to us, I half-expected characters to turn to the camera and say, “Here’s what you need to know so you can understand what’s happening.”

It’s just deadly and dreadful, loud and obnoxious, convoluted and irritating, horrible and dumb.

Let's say Roller Boogie is no better and no worse than the beach blanket/bikini/bingo/bongo movies, and from there you're going to have to take it by yourself.

A cynical, savage satire about violence, the media and depravity. It doesn't have the polish of "Natural Born Killers" or the wit of "Wag the Dog," but it's a real movie, rough edges and all, and not another link from the sausage factory.

What I got was a fairly intriguing story and an actual plot that is actually resolved. That doesn't make the movie good enough to recommend, but it makes it better than the ads suggest.

Payne is played in the movie by Damon Wayans, in the best work he's done since the inspired "In Living Color" TV series.

To its credit, Street Fighter does have a sense of humor about itself. [26 Dec 1994, p.25]

From its juvenile double entendre title to its fascination with prison rape and homophobic humor, “Get Hard” practically announces itself as an offensive, tired and unimaginative comedy in nearly every scene. And yet I didn’t hate it because Will Ferrell and Kevin Hart had such terrific comedic chemistry.

In its minor-key way, "Ghost" is a clever, intelligent and visually compelling thriller. Its gimmick more than carries its weight. [31 Dec 1993, p.39]

One of those movies you like more at the time than in retrospect.

Alas, you can spend nearly two hours watching the slick, cynical, vapid and brain-numbing actioner “Ghosted” on Apple TV+ and find yourself regretting the decision pretty much every predictable and overblown step of the way.

Spade, clearly bored with his petulant-pipsqueak persona, does the kind of sleepwalking that gets ridiculed on TV by David Spade. Make no mistake: He's over this. [2 Feb 1996, p.31]

About the best Friday the 13th movie you could hope for. Its technical credits are excellent. It has a lot of scary and gruesome killings. Not a whole lot of acting is required.

Celtic Pride is a little too lumbering to really take off as a comedy; the director, Tom De Cerchio, doesn't show a light touch. But there is the germ of an idea here, especially in the scenes where the professional star ridicules two grown men for taking a basketball game so seriously. And then there are some nice reversals in the final scenes, as Mike and Jimmy balance between their sports loyalties and their survival instincts. But I wish the movie had been a little more focused, a little quicker on its feet. [19 Apr 1996, p.31]

It’s always a shame when a group of talented humans get together and deliver something that comes across as a halfhearted effort, even if they poured their blood, sweat and tears into it.

A dreary experience.

The screenplay shows signs of being inspired by personal memories that still hurt and are still piling up in Michael's mind. Fair enough, but the film doesn't sort this out clearly, and we experience vignettes in search of a story arc.

It’s awful, but disposable and easily forgotten.

What I felt as I watched Scooby-Doo 2 was not the intense dislike I had for the first film, but a kind of benign indifference.

Watching Doom is like visiting Vegas and never leaving your hotel room.

The Smurfs 2 probably isn’t any worse than you might expect. On the other hand, it’s almost certainly not any better. It’s just a matter of figuring out how much punishment you’re willing to endure for the sake of the small child you’re taking to the movies.

The sequel to Tim Burton’s 2010 mega-hit “Alice in Wonderland” is loud, frantic, stunningly unfunny, off-putting and riddled with mediocre, out-of-tune work from normally outstanding actors. It’s one of the great movie disasters of 2016.

This is the kind of movie that keeps the great Ellen Barkin literally in the shadows as a criminal mastermind, and relegates the wonderful Kaley Cuoco to an embarrassing supporting role as a man-hungry best girlfriend who might as well have stepped out of a cheesy 1970s rom-com. Is anybody even trying here?

I liked a lot of the movie, which is genial and has a lot of energy, but I was sort of depressed by its relentlessly materialistic view of Christmas, and by the choice to go with action and (mild) violence over dialogue and plot.

The Fourth Kind is a pseudo-documentary like "Paranormal Activity" and "The Blair Witch Project." But unlike those two, which just forge ahead with their home video cameras, this one encumbers its flow with ceaseless reminders that it is a dramatization of real events.

There are some good performances here, by Jack Magner and Olson in particular, and some good technical credits, especially Sam O'Steen's editing. It's just that this whole Amityville saga is such absolute horse manure.

Patton lightens the aggravation, for the most part, by combining a likable presence with a knack for physical comedy and a willingness to hop into dumpsters, etc., as needed, making the most of the script’s meager opportunities for comedy.