The "Fallen" moviemaking team obviously want to make a thinking person's horror movie. Intermittently, they succeed. But this movie suffers the fate of many recent nightmare thrillers. [16 Jan 1998, p.A]

Robinson is undone partly by his own workmanlike touch as a writer, and partly by matters of casting. I like Harris, and he's quite moving here, but every time Duchovny reappears the overall energy level sinks to crush depth.

Though this film shows flashes of the electric writer Mamet was to become, Lakeboat is mostly distant thunder over choppy waters.

The movie, let it be said, is not awful, but the kinetic battles are chaotic, and the look of the Quantum Realm is oddly drab in its interweaving of digital and VFX elements, seeming at times to be more like several first drafts of a new “Star Wars” franchise instead of a natural extension of this one. Midway through, as everyone on screen was restating their interest in getting home again, I thought: Same!

Road House is startling because of the intensity of its violence and because of Swayze`s mindless posturing. A young star has sold himself to become a pinup boy.

A routine Neil Simon comedy with Goldie Hawn ,Chevy Chase, and Charles Grodin mixed up in a story about an innocent bank robber and a power-hungry district attorney. Hawn has been married to both. Not very funny, but the dogs are cute. [19 Dec 1980, p.10]

Not a triumph or a tragedy, but faithful to its subject matter. And faithful, in this case, seems fitting.

Schlock that could and should have been better.

The movie has a good shot at a huge streaming audience. But does it have the creative instincts of a good movie? An OK one, yes. It’s too bad The Adam Project is only that, since the cast isn’t dogging the assignment for a second.

Joffe is much more interested in issues than people, and the personal exchanges in his new film are almost completely unilluminating and uninvolving - they take the form of speeches, and they're blunt, histrionic and passionless. [20 Oct 1989, p.A]

A pretty entertaining case against our current war and question the integrity of our president, but more than that, these docs manipulate imagery, music and sound bites to work their audiences into a frenzy.

What If brings up the distinctions among wit, jokes and robotic banter, and this new romantic comedy has a bit of the first and a few of the second, but it's largely a case of the third.

The results aren't gothic and bloody, as they were in the Lauren Bacall film "The Fan," or elegant and ironic as in the Bette Davis classic "All About Eve"--though the plot suggests a bit of both.

Fans of “The Room” — they’re everywhere — will get something out of it, though I’d argue not enough; director Franco’s camera sense is neither quite in synch with Wiseau’s (thank God) or quite distinct enough in its own style.

At 79 minutes, Love and Other Catastrophes is more of a snack than a meal -- one that could use a little less sugar. Now that Croghan has figured out how to bring characters she likes to the screen, her next lesson is to learn how to flesh them out without resorting to emotional shorthand.

There's about 10 good minutes out of 85.

Hellboy's adventures may take him to you-know-where and back, but the movie remains in limbo.

Carr made her long-gestating Netflix documentary with journalist Jenny Eliscu and the pair never comes across as anything less than serious-minded. But their efforts feel limp and plodding by comparison, and sometimes confusing.

Oscillates between pragmatist genius and B-movie mediocrity.

Classic Bay, except it's missing the crass director's fine-tuned rhythm, his feel for adrenaline, his breakneck edits and sense of humor.

If you want a relationship comedy that feels like last year's stuff, doesn't go far enough in any direction and is made watchable only by an overqualified ensemble, there's The Ex.

LaBeouf's quivering instability creates the impression that his performance is constantly buffering on us. He's never dull — he is, in fact, a compelling actor in any circumstance — but the material ends up cheapening the experiences of so many real-life veterans, which surely was not the filmmakers' intention.

I doubt even rabid fans of the first two will consider Shrek the Third a worthy addition to the franchise.

The Lara Croft reboot Tomb Raider isn’t half bad for an hour. Then there’s another hour. That hour is quite bad.

Early in the movie, Hal Holbrook (as the paranoid NASA administrator who sets the fake-out in motion) unloads an expository speech on Brolin (as one of the astronauts the administrator needs to convince to go along with his insane ruse). Is it a long speech? Dear reader, “long” doesn’t quite measure it. It’s endless. It’s an event horizon of a monologue and by the time it’s over, you can’t believe the coronavirus hasn’t left yet.

My God is this script predictable. Each relapse and betrayal shows up announced, and then announced again, a little louder, by the dialogue equivalent of an aggravating doorman.

This one's just OK, but at midnight, after who knows what, OK might be enough.

Splashes its drama all over the screen, subjecting its audience and characters to action that feels not only manufactured, but also so false you can see the filmmakers' puppet strings.