Takes us to familiar lands but without any of the original's magic.

More happens in Eclipse than in the previous "Twilight" zone, "New Moon," and yet it's duller

The movie, directed by veteran Jonathan Kaplan, has enough in common with such American-in-foreign-jail movies as "Midnight Express" and the recent "Return to Paradise" to make you wonder why it ever got made.

As Cruel Intentions progresses, you may come to realize that if a bomb suddenly blew up everyone on screen, you wouldn't particularly miss anyone.

Most of this doc is content to wander through Franken's recent show-biz resume, to no particular end.

Bad Boys for Life may be a frantic visual blur but it’s razor-sharp thematically. Its mission, should you choose to accept it, is to make a jaded 2020 audience glad to see these guys again. The movie’s not the point. The boys are the point.

The movie doesn't deserve any of the talent bestowed on it, from Reiner's amiable direction to the occasional grace notes in the performances of Hudson, Marceau and David Paymer.

The cast generates the goodwill. Madison and Quinn bring heart and some shrewd dramatic instincts, while Cook and Sterling settle comfortably into a sincere comic key.

What we have here is a smoothly crafted error in judgment.

Just when movie theaters don’t need another one, The Amateur comes along to join the roster of 2025 releases that lack the knack, the juice and exciting reasons for theatergoers to theater-go.

Despite the obvious talents of the stars-McCarthy is especially arresting-there is an empty feeling that we're taking a tour of a garish ghetto without a tour guide. [6 Nov 1987, p.55]

It's a movie that robs the story of its politics and point and never really matches the charm of the '60s film.

My favorite thing in the movie is the way co-star and Korean action icon Byung Hun Lee uses his feet of fury to hoist a paint can and send it flying.

Despite all the rich elements — the fantastic cast, the wonderfully detailed production and costume design, an oddball family story of black sheep finding each other — there's something missing from The House with a Clock in Its Walls. It's weightless, hop-skipping over necessary story-building, glossing over Lewis' warlock training as well as the personal histories of his guardians.

Making her feature-film directorial debut, Grant is going for an everyday conversational texture and a sense of life's curveballs. But the results wander and you never really believe them.

An interesting misfire. It's also the victim of lousy timing.

Ready or Not 2: Here I Come feels behind the ball, not ahead of the game, and unfortunately, this is no escapist, or even cathartic, horror romp. Read the news instead if you’d like a real scare.

What Levinson has created here is a generic memory film, so vague in its particulars that virtually anyone's family experiences can be plugged into it. [19 Oct 1990, p.B]

The action is perpetual, and perpetually in need of a better director, and editing that heightens and sharpens our pleasurable excitement instead of dulling it. The appeal, I suppose, of the far-flung, constantly roving storyline this time around is its latitude for different sorts of mayhem and different genre shout-outs. But all too soon Jurassic World: Dominion made me long for the best bits of Spielberg’s “Lost World” or J.A. Bayona’s “Fallen Kingdom.” Those folks know how to set up a shot, vary the rhythm and deliver the payoff.

Warming up this material, as Johnson tries to do, doesn't make it warmer; it just makes it seem warmed-over.

Thinner has its meaty moments, but overall, it's Stephen King lite. Less taste, less filling, less fun.

Overall, Wide Awake is a sound concept that fell considerably short of its goals. [27 Mar 1998, p.B]

Hobbled with pedestrian direction, a dull visual style and a last act awash in obvious bang-bang melodrama.

This seems to be a movie made by people who love the old classic movie swashbucklers but don't have a clue how to make or modernize them.

Mainly, Cage keeps finding the damnedest ways to topspin his line readings so that you never know where a sentence is going. May the next outing with Renfield and Dracula, should the public and Universal decree it, be a little funnier and little less too much.

By the time Perfume arrives at its ridiculous mass orgy, staged at the gallows where Grenouille is supposed to meet his end, you really would rather see him meet his end than endure a ridiculous mass orgy.

What a vivacious-looking, tartly-scored bore of a movie.

It's an intriguing premise, weakened by a script lacking in strong forward motion.