With her low voice, jumpsuits, cleavage and Segway, Miles (Harmon) is all satire all the time, and we love her for that.

Though it's hard not to play it, the expectations game is a dangerous one, especially for sequels. And Roach's original, just like his overexposed star, set us up good.

First hour: pretty lousy and not much fun. Second hour: pretty lousy but more fun, and the movie has the benefit of getting stranger and stranger as it gyrates.

Some movies sell and you don't know why. With La Mujer de mi Hermano, a big-screen romantic drama with the aura of a nicely steamed telenovela, you know why: because the three stars look good in plush white bathrobes, that's why.

The movie’s total lack of focus and its unimpressive script should render it totally unwatchable. Weirdly, that doesn’t quite happen. There’s something endearing about these characters.

It's no better, no worse and essentially no different from the jocular, clodhopping brutality of the first one.

Wretchedly unfunny. [14 Aug 1992, p.18]

Despite the actors, the visuals and Forster's directorial swagger, the movie lacks impact.

The Curse of La Llorona is middling B-movie schlock that goes for the low-hanging fruit: sequences you know will end with some kind of jump, bump or scream, and jokes that cut the tension and indicate everyone here knows what's up.

Freshman Orientation is not incompetently made. Nor is it badly acted. But there’s not a fresh idea in it, and everyone on screen seems to be in a different comedy.

Makes you want to run home and shower, but Rourke's performance gets under your skin.

This premise is not a complete loss, and the movie is not badly written. But all of its various elements (Whaley and Connelly's friendship, their battles with the two criminals who come to rob the store, Whaley's quest to make something of himself, etc.) end up being thrown together like mismatched pieces of a jigsaw puzzle. This makes the movie messy and uninteresting. [5 Apr 1991, p.J]

"Superbad” got a deserved R rating for its unmitigated and gleeful raunch. Drillbit Taylor is cleaner in mouth but far uglier in spirit. Wilson and Mann do what they can to tone it up, but their scenes belong to a different film, and a fresher one.

It's a depressing story made even more of a downer by the absence of any Stones-performed music from their prime '60s years.

Action films can't be this consistently absurd, can't paint their heroes into such dangerous corners, from which only cocktails of luck and divine intervention can save them, over and over. It's a bad-faith bargain with the audience and bad storytelling.

The belief here is that Landis simply has overstuffed what might have been a somewhat tender action picture with all manner of movie trivia and action scenes. After a while, the principal characters in the chase begin to move so fast that they become a blur and ultimately disappear.

Carelessly digressive and stylistically muddled. [22 Mar 2016, p.C3]

Shandling and Nichols strain to reach a mainstream audience and wind up sounding like they, too, have been trained to tell us what we want to hear. Sorry, guys, but you don't score.

The problem is that one can't help but think of better, more interesting movies based on this premise.

Sacrificing content for style, Caruso gives us a lot to look at but little to ponder.

This new version is quite faithful to Conrad's novel, not only in content but also in tone. [13 Dec 1996]

So nonsensical you don't understand why anyone would actually make it.

I have a sneaking suspicion that Running Scared could become a cult classic.

The movie wants it both ways: bloodthirsty revenge and some finger-wagging about the tactics.

Toward the end, G-Force starts making no sense at all, neither tonally or narratively. It may not matter to the target audience, though the look on my son's face when it was over was pure Buster Keaton. He says he liked it well enough. Me, a little less.

Hardwicke is a talented director who brings an addictive verve and visual dynamism to this bombastic take, and Rodriguez has a charm so appealing it could be weaponized.

What is remarkable, though, is just how unbelievably unbelievable this inspired-by-true-life tale is.

The flabbergasting scenes here-written by a team of "Tonight Show" and "David Letterman Show" writers and directed by hot, young TV-commercial and music-video director Michael Bay-are slick, fast, loud, mostly derived from other movies and often senseless.