It's based on some DC Comics characters, which may explain the way the plot jumps around. We hear a lot about graphic novels, but this is more of a graphic anthology of strange occult ideas.

My guess is that the average firefighter, like the average American moviegoer, might sort of enjoy the movie, which is a skillfully made example of your typical Schwarzenegger action film.

A very bad movie and a genuinely moving experience.

So monumentally silly, yet so wondrous to look at, that only a churl could find fault.

Her dad was right about one thing. Something terrible did happen to her (Duff) in Los Angeles. She made this movie.

Would be a mindless action picture, except that it has a mind. It doesn't do a lot of deep thinking, but unlike many futuristic combos of sf and f/x, it does make a statement:

New Year's Evil is an endangered species - a plain, old-fashioned, gory thriller. It is not very good. It is sometimes unpleasantly bloody. The plot is dumb and the twist at the end has been borrowed from hundreds if not thousands of other movies. But as thrillers go these days, "New Year's Evil" is a throwback to an older and simpler tradition, one that flourished way back in the dimly remembered past, before 1978.

This is a genuinely interesting idea, filled with dramatic possibilities, but the movie approaches it on the level of a dim-witted sit-com. Thoughtful scenes are followed by slapstick, emotional moments lead right into farce, and the movie doesn't have an ounce of true moral courage; it sidesteps every single big issue that it raises.

Aside from some fancy handiwork with a combination credit card/switchblade, Seagal appears stiff and arthritic during his karate scenes, lending worrisome credence to the notion that Seagal couldn't fight his way out of the Wrigley Field bleachers. [08 Oct 1996, p.34]

The true story of Freddy Heineken’s kidnapping is fascinating, but Kidnapping Mr. Heineken is a disappointingly superficial film in which neither the kidnappers nor their captives are particularly interesting.

Language of a Broken Heart has the Lifetime Network written all over it. It’s a fitting entry for that venue but as a theatrical feature, it’s simply not up to the task.

The director of the film is Tim Hunter, whose feature career goes back to such 1980s gems as “Tex” and “River’s Edge,” and whose TV credits include everything from episodes of the original “Twin Peaks” to “Mad Men.” That explains why it’s such a good-looking film. Nicolas Cage’s starring presence explains why it’s such a compelling and offbeat little thriller.

As light as a feather, as fresh as spring, and as lubricious as a centerfold... There is something extroverted and refreshing in the way these women enjoy their beauty and their sexiness.

Despite some fine production values, lovely photography and smart casting of a range of British stage and screen actors, The Christmas Candle can’t quite move beyond the weary metaphors. It has the feel of a slick television movie.

The special effects are among the more positive aspects of “Allegiant,” but those alone cannot rescue this highly flawed sequel.

It's not often you find this voluntary dimwittedness in a movie, but "If Lucy Fell" offers a depressing example in the case of Joe MacGonaughgill (Eric Schaeffer), one of the least appealing characters ever offered for the public's entertainment.

This is a harmless and pleasant Disney comedy and one of only three family movies playing over the holidays.

House of D is the kind of movie that particularly makes me cringe, because it has such a shameless desire to please; like Uriah Heep, it bows and scrapes and wipes its sweaty palm on its trouser leg, and also like Uriah Heep, it privately thinks it is superior.

Hackman could charm the chrome off a trailer hitch. Romano is more of the earnest, aw-shucks, sincere, well-meaning kind of guy whose charm is inner and only peeks out occasionally. They work well together here.

The movie's problem is a fundamental lack of substance.

My Favorite Martian is slapstick and silliness, wild sight gags and a hyped-up acting style. The Marx Brothers would have been at home here. The movie is clever in its visuals, labored in its audios, and noisy enough to entertain kids.

Class is a prep-school retread of "The Graduate" that knows some of its scenes are funny and some are serious, but never figures out quite how they should go together. The result is an uncomfortable, inconsistent movie that doesn't really pay off -- a movie in which everything points to two absolutely key scenes that are, inexplicably, the two most awkward scenes in the film.

There are a lot of logical gaps in this movie.

The best thing about The Hero of Color City is its good voice talent — and its running time of only 77 minutes. Other than that, this is a pretty lame computer-generated animated movie that will likely not engage kids much past the first grade.

You may be imagining this is an animated film, and that Jack Black is voicing Lemuel Gulliver. Not at all. This is live action, and despite the 3-D, it's sorta old-fashioned, not that that's a bad thing.

A surprisingly effective thriller.

Seagal has been quoted as saying he isn't proud of the films he's done, that he wanted to move onto more serious fare. In that light, it's possible to see the wretched excesses of On Deadly Ground as self-punishment. To each his own, but when the audience is punished, we're standing on the wrong ground. [21 Feb 1994, p.25]

Catch That Kid respects all of the requirements of the genre, and the heist itself is worthy of "Ocean's Eleven" (either one; take your pick).