Director Morel brings some style and speed to the proceedings, though I found The Gunman increasingly numbing in the carnage department. Compared with someone like Neeson, Penn's avenging angel is a less relatable fellow.

A likable little movie without much to offer but cute tots, recycled gags and a talented cast amiably wasting their time and ours.

Campbell and her character are willing to take chances. But Toback's tangled noirish plot, with Vera as a post-feminist femme fatale, isn't particularly clever or original.

The film's main fare is three Stephen King horror stories, presented as comic books come to life. Stringing them together are scenes about an all- American youngster, a Creepshow comics fan who outwits the neighborhood bullies with his mail-order Venus flytraps. The Creep, who delivers the comics, acts as host for this anthology. It's a complicated framing device, but it puts the film squarely in the camp of kids' movies. [07 May 1987, p.3C]

Legendary is so intent on paying heartfelt tribute to dogged young athletes that it neglects basic story needs.

They graduated but didn't really grow up. Most of the less than lovable troupe from the first movie are back, including Steve Guttenberg, and so is the low level of comedy. This time, at least, director Jerry Paris from the old Dick Van Dyke show is on hand to improve the timing and pace. [05 Apr 1985, p.C]

Meets the low standards of a mediocre TV movie.

We're reminded of Police Academy because this is another story about outcasts and rejects banding together to beat the odds in a macho profession. And we're reminded of The Sting because that's how we feel after the movie is over. Stung.

Written by newcomer Melissa K. Stack, The Other Woman offers roughly equal parts wit and witlessness, casual smarts and jokes, lingering and detailed, regarding explosive bowel movements. Based on that ratio, I'd say the screenwriter's future in Hollywood looks pretty good.

This limp, lifeless, one-joke action comedy sequel, directed by David Kerr, comes 15 years after the 2003 "Johnny English," and manages to overstay its welcome, even at a scant 88 minutes, mostly because writer William Davies didn't bother to write anything other than "Johnny English is bad at spying."

A shiny bauble full of dead weight, gloppy good feeling and airless cliches. And every time you try to grab onto "Bride's" characters, they run away. [30 July 1999]

The trajectory of the film -- despite its excellent cast and intelligent mounting -- is too preordained.

Certainly no comedic masterpiece, but it does offer a few fine moments of biting satire.

I hope Green one day finds a way to bridge the style and rhythm of his early pictures (the ones that didn't make money) and the bumper-car approach of The Sitter.

The movie shoves McCarthy and Sarandon in a car together quickly, without much in the way of expository set-up.

It never feels like Brooks has a grasp on the material here, which careens aimlessly through Ella’s harried day-to-day, in a handsomely bland, serviceable style.

As a pocket history of the battles over Jerusalem in the ’40s, O Jerusalem is serviceable enough. But all the melodrama cheapens the real drama, and turns a war-torn region into a soap-opera stage.

The movie--while it doesn't knock you out--doesn't self-destruct either. Besson may never rise to the level of his best American models here, but it's fun watching him try.

One of the most gifted dramatic actors working in movies today, Swank is stunningly ill suited for romantic comedy (or this one, anyway).

To sum it up, you should see this movie if you have a burning need to waste money to find out an obscure fact about a has-been villain committing an everyday crime - namely, taking that money you just wasted. [20 Sept 1991, p.K]

Mainly, the movie we have here reminds us that what works on a stage, within the non-realistic world and performance momentum of stage musicals, lessens a lot of story problems that movies tend to heighten.

"The Misadventurer" is more like it.

A soft-core sex comedy that keeps throwing out comic variations on the idea of the line between gay and straight sexuality.

Seems a little lightweight, even for a kids' movie.

The music is great. Jaafar Jackson is a star. But the movie itself is uncomfortably problematic in a way that’s hard to overlook.

It's a decent, fast-moving and visually powerful summer action romp for the teenage demographic-the dragons are deliciously evil critters, with a nice retro identity.

Now and then the Mulleavys capture a moment or glimmer of true mystery; more often, and certainly in dramatic terms, Woodshock feels like a movie that never stops buffering.

A dirge of unfunny scatological material, techno-anxiety and child endangerment masquerading as familial bonding. Settle in for the "Long Haul," because this is one bumpy, miserable ride.