To be fair, it's little better or worse than the original. But, to be honest, the original--minus its nascent stars--wasn't very good.

Poltergeist at this point is a brand name without a distinctive product to sell-no vivid characters, no unique situations, no look or meaning of its own.

The supporting players in Man on a Ledge bring more to the party than the leads, and my suspension of disbelief seems to have gotten hung up in traffic while attempting to cross the suspension-of-disbelief bridge from the Brooklyn side.

Despite the holes in the script, Fatal Attraction writer James Dearden moves the action along competently and has two compelling young actors in Dillon and Young. [26 Apr 1991, p.C]

Perhaps if you are a Sega-head or Nintendo freak, and your mission in life is to rack up awesome scores on Double Dragon, you may find this loud and tedious movie more enjoyable than I did. But I doubt it. [04 Nov 1994, p.M]

A wild, wanton and wasteful western farce that's so overblown and underwritten it almost makes you cringe to watch it.

Keanu Reeves plays Klaatu, confining his usual two-and-a-half-note vocal range to half that.

Impresses more than it entertains.

The joys of singing give the movie a hook, but when Duets aims for lyricism, it's got a tin ear.

Too cute, too transparent, too precious and ultimately too much.

The cast is quite good. But Peaceful Warrior, which is basically "The Karate Kid" with a bigger kid and a bigger mentor, represents a journey of predictability, rather than a destination worth the trouble.

A chaotic headbanger, X-Men Origins: Wolverine is saved from pure flat-footed blockbuster franchise adequacy by six things, three of them on Hugh Jackman's left hand, three on his right.

Green just isn't the superhero color this year.

Shot in Chicago, this is a picture that looks better than it sounds and is made much better than it deserves to be.

Some comedies have the knack for affrontery and shock value; The Change-Up, written by the "Hangover" team of Jon Lucas and Scott Moore, merely has the will to offend.

None of the characters has been written with any personality, and none of the actors succeeds in discovering any. [05 Mar 1993]

Fawcett isn`t half bad--she works hard and doesn`t commit any egregious technical faults--but she doesn`t have the resources to give her slimly written character a sufficiently commanding inner life, and it`s difficult to get beyond her sunny, fashion-model good looks. It`s another sad case of the clown who wanted to play Hamlet.

Since I sort of liked “Step Up 2: The Streets,” I’m not surprised I sort of liked the remake of Fame.

A pelvis-gyrating, ponytail-releasing, shirt-unbuttoning good time.

It's a dream of a movie, if only in the literal sense. The film means well; so it seems churlish to mention its total absence of originality. Care Bears poaches shamelessly on everything from "The Wizard of Oz" to "Androcles and the Lion," but its greatest debt is to Lewis Carroll, whose engagingly warped mind would surely recoil at this confection. [07 Aug 1987, p.Q]

This 1989 movie looks much of the time like an old idea that's been too enthusiastically colorized. The prison sequences work best, and they seem almost like a completely separate film.

As a film, "Consenting Adults" has little to distinguish itself from the other entries in the genre, apart from an entertainingly hammy performance from Spacey and the clever production design of Carol Spier, with its emphasis on bold color effects (the interior of the Otis house is painted an infernal red) and complicated architectural spaces. But this, of course, is the kind of filmmaking that defines success by its adherence to the norm, not in dangerous departures from it. [16 Oct 1992, p.C]

Sloppy, grimy but quick on its feet, which puts it ahead of certain other (“The Hangover”) R-rated comedies (“The Hangover”) we’ve seen this summer (“The Hangover”).

The biggest problem with Why Him? though, isn't him, it's her. Stephanie is so underwritten, that though these men are competing ruthlessly over her, she drops out of the story completely. She's the center of attention, but she's a void.

Too much. Too numbing. Too coy. And ultimately too violent.

Too much of Nobody’s Fool makes do with well-worn exchanges and contrived, overheard conversations.

It's another slick-and-quick muscle car of a movie, racing along for a couple of hours, taking you nowhere as fast as it can.

Leans on just as many stereotypes as it tweaks.