This sequel succeeds as a slightly convoluted, paint-by-the-numbers buddy/action comedy with fast, funny banter and well-choreographed fight scenes.

More sentimental and ruder than its predecessor, though its brand of raunch tends to curdle halfway out of the characters' mouths.

Once it gets going and commits to its time-worn inspirational formula, it's not half-bad.

Ultimately a disappointment because it refuses to take any aspect of itself seriously.

Neither sinful nor particularly bad, the movie nonetheless diverts us when it should transport us. Its heroes' hearts may lie out at sea, but its soul never leaves dry land.

The movie struggles to turn the story into a paradoxical easygoing thriller, befitting the age bracket of its key ensemble members.

Robin Williams is such a great comic virtuoso that it can almost hurt to see him straining to pump life into a conventional, uninspired, sometimes-goofy big-studio comedy such as RV.

M. Butterfly, David Cronenberg's visually stunning but oddly cold and sparkless adaptation of the much-prized David Henry Hwang play. [08 Oct 1993]

It's a maddeningly uneven picture, with an action climax staged and executed with the air of a contractual agreement.

What’s missing are unexpected beats, some rougher edges, a few plot-undependent moments that bring us closer to the way these characters live, breathe and feel.

Like an episode of "Friends" where the entire cast has been given aphrodisiacs and locked up.

They Will Kill You is both irreverent, and reverential to its references, and cartoonishly violent in increasingly surreal ways, but it also maintains the emotional core at the center, which is Asia’s blind big sister protectiveness over Maria, powered by the guilt she feels over not being there for her. It’s a simple, but primal character motivation that Beetz sells with a wild-eyed ferocity.

All four stories are worthwhile, though together they’re an awful lot for one modest doc to cover. Yu’s integration of cinematic and theatrical elements is uneven, and a bit stiff.

First, a few things The Water Horse is not: revolutionary, controversial or challenging. What it is: a sweet, familiar story, beautifully filmed and lovingly told.

There is a good movie to be made about someone like Brandon, especially with someone like Fassbender, a performer of exceptional technical facility and a fascinating sense of reserve. McQueen's isn't quite it.

The stylish and imaginative imagery in director Joseph Ruben's film, not to mention the parapsychological twists and mysteries, evoke the work of director M. Night Shyamalan.

It's still strangely remote, only fitfully romantic, never really convincing.

The late U.S. Rep. Sonny Bono and his widow and successor Mary Bono have spent a good deal of time trying to save it. It's a hard task, but the film does suggest there's more to the sea than meets the eye.

Underwater never quite breaches the surface from good to great, though this well-appointed creature feature proves to be an excellent showcase for Stewart’s screen presence.

This is a better movie than the vacuous "Insurrection," thanks largely to a sympathetic screenwriter, longtime "Trek" fanatic John Logan ("Gladiator"), and a crew (headed by Patrick Stewart's Capt. Jean-Luc Picard and Brent Spiner's android Data) determined to go out in glory.

The way it's shot and cut, it plays like a parody of a car commercial shot in the style of a Bond film.

I’d place Thanksgiving halfway between “fair” and “good.” Inevitably, Roth can’t keep his baser storytelling and filmmaking instincts at bay forever.

Despite its charms, and the refreshingly non-traditional characters, Lilo & Stitch seems diluted and too derivative to be as effective as one wants it to be.

Knows when to take itself seriously and when to laugh at itself -- even if its audience isn't laughing along at every gag.

Despite Fiennes' splendid moodiness and Tyler's radiant vulnerability, despite lovely settings... this movie is dull.

Hunnam’s reliably charismatic in suffering and in joy, but with most of the political and wartime context shaved off the story, once again, we’re left with the basics.

Hoodwinked treats "Red Riding Hood" as a detective story we've never really understood until now, with nuttier motivations, more complex characters and a screwier climax.