There's barely a scene in this movie that taps his (Murphy) special brilliance.

It's not so important to follow plot twists--I couldn't--but the emotional thrust Kelly and Scott want to drive home is plain: Once Domino is asked to use guns and knives and nunchucks for a purpose outside the law, she's alarmed, appalled, aghast.

Too full of worship and the culture of celebrity to ever pose the questions that should be asked.

It's a movie that doesn't have an original thought in its head, and seems to like it that way.

It’s a big, frothy, high-tech, cutesy-poo musical comedy.

As the film turns toward black comedy, mystery and horror, away from social mocking, it becomes far more compelling.

Director James Kent’s pretty, frustrating picture has atmosphere in spades, and a diamond-like sheen, but its tale of hearts aflame is slowly clubbed into submission by an excess of taste.

As directed by a button-pushing Herbert Ross, "Undercover Blues" operates under the credo of "Grin, and the world grins with you." The ever-chipper Turner and Quaid try their damndest throughout, with Quaid often resembling a Cheshire cat whose face froze that way. throughout, with Quaid often resembling a Cheshire cat whose face froze that way. But all the pep in the world couldn't save this nonsensical mixture of low-rent espionage, low-ball slapstick and low-reaching cuddly family moments, like the baby's first steps captured in what looks like a Polaroid ad.

Waste in the health care system is deplorable, but waste on the movie screen isn't so great either.

More an argument than a fully fleshed-out drama ... The script is unconvincing; two key narrative twists, one related to the other, are deeply hokey.

Full of interesting little grace notes, and the cast is excellent, yet it grows more and more frustrating.

It remains a diverting, mildly entertaining movie, far short of provoking the controversy (or hysterical laughter) it apparently prompted during its release in Germany.

Let's say you find yourself at the multiplex, and the first 20 minutes of Mr. Woodcock happen to correspond with the 20 minutes you need to waste before your movie of choice begins. Those are the ideal 20 minutes to spend with this marginally promising--but ultimately unfunny--comedy.

Even for John Hughes, who writes movies in less time than most people write postcards, The Great Outdoors seems unusually slapdash.

One of those comedic pieces that steps off smartly but about halfway through starts to stumble home as it disintegrates into farce and squishy sentimentality. [23 Apr 1994, p.19]

Eastwood's foursquare directorial aesthetic tends to heighten, rather than camouflage, a screenplay's shortcomings.

Padding disguised as a feature-length screenplay, adapted from Belber's one-act.

Toward the end, the film resorts to placing a young girl in jeopardy in a pathetic attempt to pander to who knows what audience. Some people have praised the technical excellence of Aliens. Well, the Eiffel Tower is technically impressive, but I wouldn`t want to watch it fall apart on people for two hours.

Vivid in bits and pieces, Mid90s feels like a research scrapbook for a movie, not a movie. The more Hill throws you around in the name of creating a harsh, immediate impression, the more the impressions blur.

Here and there, the actor invests the kind of feeling that makes The Way come alive in human terms.

An Israeli-on-Arab version of "Shampoo," You Don’t Mess With the Zohan is terrible in many ways, and shoddy in every way that has to do with filmmaking. But politically it's sort of interesting.

In this third outing for the Griswolds - following the dismal "National Lampoon's European Vacation" in 1985 - the satirical edge has given way to sentimentality and a whiff of smugness, while the black humor has degenerated into broad slapstick. It's a tribute to first-time director Jeremiah Chechik's fine sense of timing that the obvious physical gags still generate some substantial laughs, though they arrive almost in spite of Hughes' tired script. [1 Dec 1989, p.Friday A]

You've seen worse. The film industry is capable of better.

Dog Days is in some ways a very strange movie, in the way it straddles the worlds of weirdo comedy and family-friendly fare. But ultimately, it's the pooches who steal the show.

Willis never develops a rapport with Def, and in the end it's not the predictable action but this lack of chemistry and camaraderie that sinks 16 Blocks.

The movie's rhythm and scope are pure sitcom, but that keeps the vehicle running smoothly over sizable plotholes. [15 Feb 1988, p.7C]

A manipulative look at dying with dignity and a lame yarn about as realistic as the fantasy in “The Princess Bride.”

No question, the new movie is amiable family entertainment, and Allen is such an affable actor that maybe kids won't begrudge him seeking romantic fulfillment in order to remain their favorite Santa.