It's not that the movie is bad; it's merely uninspired and relatively clueless about Kaufman.

It's more or less a grown-up picture, and not bad at that, though its muted and patient style has both its merits and its drawbacks. Still, as I say: not bad.

Indivisible is surprisingly engaging. With a host of characters, there's plenty to hook into, even if the multiple storylines are all a bit shallow, and the actors are appealing, especially Skye P. Marshall, an Air Force vet who plays the hard-charging Sgt. Shonda Peterson.

Such stalwarts as Judi Dench, Julia Ormond, Toby Jones and Dominic Cooper spice things up as characters of various degrees of familiarity.

The filmmaker's imagination is too rich for Spy Kids 3-D to be written off as a failure. But it's too bad that while the visuals have gained a dimension, the story has lost one.

It's a fairly entertaining bash, with a travelogue vibe established by director Larry Charles ("Borat"). It’s also smug as all hell.

Crushingly realistic one minute and melodramatically hokey the next.

At times, though, the appealing but uneven film seems rather disjointed, with Anders not quite getting a handle on her material, which is weakened by a sometimes-murky storyline (some of the minor characters drift in and out for no apparent reason) and pretention (there is a lot of talk at the end about the desert being a kind of metaphor for hope and renewal). Still, Anders decidedly is a director worth watching. [6 Nov 1992, p.J]

Dolls leaves no cliche unmined, with the result that every scary moment is its own comic relief. [27 Mar 1987, p.L]

At its best, The Seeker is a pretty vivid fantasy book come-to-life; it does a decent, passable job of adding to the canon of kid-lit flicks.

Exhaustive and at turns exhausting.

The Statement is an older man's film, and compassion is one of its strengths; Jewison and Caine make us feel pity and terror for the victims as well.

It's a uniquely feminine kind of villainy that's transfixed us since classical Hollywood, and Di Novi and Heigl understand it implicitly in order to execute it perfectly.

A shy and depressed college graduate falls in love with a Bohemian artist, as in Woody Allen's "Manhattan."

Doesn't quite work but is worth seeing anyway.

The core of Fey’s storyline hasn’t changed, even if technology has. It embraces, with trace elements of sincerity, the juicy comic extremes of mean-girldom, complete with an 11th-hour repudiation and a reminder to be nicer. Before it’s too late.

Known for her lovable roles in "The Help" and "Hidden Figures," Spencer goes dark and sadistic with an enthusiastic glee, her signature smile (and those bangs!), and she creates one of the most memorable horror villains in recent history. She makes "Ma" worth it.

Treats its now-mythic Brooklyn Dodger with respect, reverence and love. But who's in there, underneath the mythology?

There’s more deliciously creepy anticipation in “Chapter Two,” but once again, Muschietti buttresses up the spook factor with too many computer-generated monsters that inevitably become banal. Through it all, Hader cracks wise, Ransone worries, Chastain emotes, McAvoy broods and monsters jump, but we lose the most important thing of all: the Losers themselves.

The more this filmmaker can learn about matching his musical taste and invention with cinematic tonal range and control worthy of those sounds, the harder we’ll fall for whatever he does next.

For a while, Trance had me guessing, and more or less hooked. Then the violence, motivations, double-crosses and fantasy/reality tangles became tedious.

Even if you enjoyed the mean, funny 1995 John Travolta-Elmore Leonard crime comedy "Get Shorty"-and many of us did-this forced sequel isn't likely to help you repeat the experience.

This otherwise predictable romantic comedy does have several genuinely funny scenes, thanks to Monica Potter's comic delivery and charm.

Vera, as written and as acted, remains a sympathetic and watchful conduit, a peg, rather than a vividly realized engine. We see everything she endures, and all she sacrifices. Yet we are not left with lingering impressions beyond the facts of a fascinating life.

Though stylistically all over the place, it's not without interest.

The film works best when widening its focus to include the Federal Communications Commission's often baffling and hypocritical stances regarding what's OK to say, or show, on TV and radio, and what isn't.

You want big wows with this sort of entertainment, and the wows here are medium.

One of those movies with good things going in one direction, and cheesy things going in the other. The ever-valuable Farmiga is a faceless voice after her sole on-screen appearance, and director Collet-Serra’s frantic, hand-held technique ensures that every supporting player looks as guilty as possible.