I went to Crossroads expecting a glitzy bimbofest and got the bimbos but not the fest. Britney Spears' feature debut is curiously low-key and even sad.

It tells a full story with three acts, it introduces characters we get to know and care about, and it has something it passionately wants to say.

The director, whose name is Pitof, was probably issued with two names at birth and would be wise to use the other one on his next project.

This particular “Blacklight” is pure, overblown, cliché-riddled fiction.

My two-star rating represents a compromise between admiration and horror.

Everybody knew to wait for the outtakes during the closing credits, because you'd see him miss a fire escape or land wrong in the truck going under the bridge. Now the outtakes involve his use of the English language.

There is a reason to see the movie, and that reason is Piper Perabo.

As a well-crafted, well-written and well-acted entertainment, it drew me in and got its job done.

Jessica Biel all but steals the show as Stacie.

Cool World is a seriously troubled film, so ragged I doubt if even the director can explain the story line.

In a film that is wall-to-wall idiocy, the most tiresome delusion is that car chases are funny.

The Perfect Sleep puts me in mind of a flywheel spinning in the void. It is all burnished brass and shining steel, perfectly balanced as it hums in its orbit; yet, because it occupies a void, it satisfies only itself and touches nothing else. Here is a movie that goes about its business without regard for an audience.

I cannot in strict accuracy recommend this film. It's such a jumble of action and motivation, ill-defined characters and action howlers.

An innocuous family feature that's too little/too late in the fast-moving world of feature animation.

Adult audiences may be underwhelmed. Not younger teenage girls, who will be completely fascinated.

Old-fashioned and obvious, yes, like a featherweight comedy from the 1950s. But that's the charm.

Even when it doesn’t work, Terminal is a film with never a dull moment.

We’ll eventually see dozens if not hundreds of projects using the pandemic as a plot point. Songbird will be among the least memorable.

A lightweight and basically unnecessary attempt to once again bring some cinematic life to one of the lesser teams in the Marvel Universe.

Walks like a thriller and talks like a thriller, but it squawks like a turkey.

The poster art for A Thousand Words shows Eddie Murphy with duct tape over his mouth, which as a promotional idea ranks right up there with Fred Astaire in leg irons.

We have the first serious contender for Wasted Opportunity of the Decade.

This is not the sort of movie you make it your business to see in a theater. But if you're ever surfing cable TV and come across it, you'll linger.

The first film had maybe a shred of realism to flavor its romantic comedy. This one looks like it was chucked up by an automatic screenwriting machine.

The Choice is classic Sparks, and by that I mean it’s a mediocre, well-photographed, undeniably heart-tugging, annoyingly manipulative and dramatically predictable star-crossed romance.

A couple of action sequences are well staged. That’s about it for the plus side.

Everything about it seems flat and artificial and contrived, from the limp dialogue to the annoying special effects to some surprisingly uninspired performances, given the talent level of the cast.

Laughter for me was such a physical impossibility during National Lampoon's Van Wilder that had I not been pledged to sit through the film, I would have lifted myself up by my bootstraps and fled.