The movie is pretty bad, all right. But it has a certain charm. It's so completely wrong-headed from beginning to end that it develops a doomed fascination.

The performances are often good, including Reno's; he has an interesting, poker-faced way of underplaying scenes that keeps him from being a stereotyped kid.

For all its predictability and averageness, Texas Chainsaw Massacre does have two fantastically executed shock scenes.

In the spirit of so many films created for the small screen, My All American works way too hard to make sure our heartstrings are pulled — and actually yanked hard from start to finish.

Movies like this do not grab you by the throat. You have to be receptive.

With style and energy from the actors, with every sign of self-confidence from the director, with pictures that were in focus and dialogue that you could hear, the movie descended into a morass of narrative quicksand. By the end, I wanted to do cruel and vicious things to the screenplay.

A flat and peculiar film.

The English-language debut from the brilliant talent behind best foreign film picture nominee “Mustang” is a terribly uneven, borderline absurdist jumble that undercuts its own message again and again.

The filmmakers made no effort to empathize with their prehistoric characters, to imagine what it might have really been like back then.

Everything about “Uglies” is average. Not terrible enough to be campy, not deep or provocative or visually impressive enough to merit further chapters in the story.

Despite the elements I could have done without, the movie is often very funny, and a lot of the credit goes to Del Toro, who creates a slow-talking, lumbering character who's quite unlike his image in "Usual Suspects."

It walks and talks like a big budget horror film, heavy on special effects and pitched at the teenage audience, and maybe that's how it will be received. But it's more impressive if you ignore the genre and just look at what's on the screen.

Stiller the director does a fine job of making Zoolander 2 look like an actual spy movie, but we’ve seen far better takeoffs, including “Spy” and “Kingsman: The Secret Service” in just the last couple of years. As for the jabs at the transient nature of popular culture and the ridiculousness of high fashion world — easy, tired targets.

Valentine's Day is being marketed as a Date Movie. I think it's more of a First-Date Movie. If your date likes it, do NOT date that person again. And if you like it, there may not be a second date.

An uninspired assembly of characters and story lines that interrupt one another.

This is one of those 93-minute movies that seem about 88 minutes too long. Or not worth making in the first place.

If it can be said movies have personalities, I give you three words to sum up the basic core identity of Safe Haven: Bat. Bleep. Crazy.

A terrific opening. But, alas, the moment The Final Conflict turns to dialogue and a plot, it loses its inspiration.

It's not fair to say Steven Spielberg's 1941 lacks "pacing." It's got it, all right, but all at the same pace: The movie relentlessly throws gags at us until we're dizzy. It's an attempt at that most tricky of genres, the blockbuster comedy, and it tries so hard to dazzle us that we want a break.

They're so detached they can't even successfully lip-synch their own songs.

The kind of movie that would be so bad it's good, except it's not bad enough to be good enough.

In a world already corrupted with Amy and Joey, and Woody Allen and Soon Yi, the last thing we need is a movie like "The Crush" masquerading as entertainment. [6 Apr 1993, p.29]

Plays like a collision between leftover bits and pieces of Marvel superhero stories. It can't decide what tone to strike.

As someone who believes most movies have too much music, I was surprised to find myself noticing how little is in Mr. Destiny. In the quiet, an innocent little fable grows, blossoms and is harvested, to no great moment.

The Mummy is so wall-to-wall awful, so cheesy, so ridiculous, so convoluted, so uninvolving and so, so stupid.

I’m all for bawdy, politically incorrect, wildly inappropriate humor — when there are consistent and genuine laughs to be mined from the material. This stuff just sits there like a steaming pile of stuff you walk around.

The dreary, derivative and punchless action comedy “Love Hurts” is proof that a movie can have an 83-minute running time and still seem like a slow-motion slog.

To call this a Netflix Original movie is only half-correct. True, it’s on Netflix, but no, there’s nothing original about this uninspired knockoff of “Fatal Attraction” (even the title and the poster borrow from that 1987 classic of the genre), which is marred by stilted dialogue, predictable plot turns and surprisingly halfhearted performances from a talented cast that acts as if they know this is slick garbage and they’re just trying to make it through the shoot so they can call their respective agents and say, “We need to talk.”