Pearce and Bonham Carter are remarkably photogenic, but the movie is fitful and mannered to a fault, full of watery allusions and stormy scares.

The leads' chemistry in The Lucky One is more theoretical than actual. Still, the sunsets and sunrises and sunbeams through the windowpanes fall easily on the eyes.

From time to time, a movie comes along that is so unconventional, so weird, so flagrantly negligent of mainstream taste that it will develop a loyal cult following--"The Rocky Horror Picture Show," now celebrating its 10th profit-filled anniversary, being a good example. This is the kind of movie the makers of "Morons From Outer Space" set out to produce, but failed to deliver. But who knows? In Britain, they may eat this stuff up. [12 Nov 1985, p.C5]

Hunt gives it as all as the tortured Louis, but Patterson is the heart and soul of the film, giving a far more interesting performance as his long-suffering wife.

Sizzles for a half-hour, then fizzles.

Director Zalman King has literally created a bad B-movie here, photographing breasts, buttocks and bubbleheads. The film is erotic until its first coupling; that's when we realize these dullard characters might as well be mannequins. Two Moon Junction deserves a genre all its own: very soft-core porn. [6 May 1988, p.A]

It's like a class reunion in purgatory. All the familiar faces are there, but the air is sulfurous and murky, and hell is just an elevator ride away. [10 Dec 1993, p.A2]

This movie looks so good, it’s tempting to overlook things like character, story and theme. As a purely sensorial experience of sound and image, it’s sensational. As a searing examination of the body horrors of football, fandom and fame, it’s weak.

A coming-of-ager that nearly slaughters you by minute 30 with the relentlessness of its protagonist's voiceovers.

Freed from the respectful restraints of non-fiction, Berg goes completely hog-wild, cinematically, and it doesn't exactly work. The film is a riot of nearly incomprehensible editing, a violent melee of intertwining scenes, shots, characters, formats and timelines, straining the limits of coherence and cogency.

The film's tone veers from misjudged sincerity to shrill sketch comedy of the broadest stripe.

There is a crazed, dark poetry here, but Mary Lambert's direction of Pet Sematary captures none of it, and the film falls into a flat, frequently laughable literalism. [24 Apr 1989, p.C2]

Despite being positioned as a mold-breaker, Riddick now blends in with a sizable crowd of reluctant loner cinematic heroes, just as the movie fails to convince that it's going where no movie has gone before.

Has no pretensions about sneaking up on you -- it simply charges, motor humming and blades flying, carving the spot where masochism and entertainment meet.

Caruso, who showed flair in the Val Kilmer vehicle "The Salton Sea," has a penchant for the dark side. In this case, it's the plodding, predictable ZIP code of the dark side.

Piven's performance basically made the series, and to the degree the new film works, which is a little, he makes that too.

Everything's at stake yet nothing comes to much in Terminator Genisys.

Gemini Man isn’t bad, but two Will Smiths — when one of them’s computer-animated — somehow feels like 66-75 percent of a real movie.

Eragon is a bit cheesy, but I rather liked it. It's sincere cheese... The special effects -- which include glowing-eyed heroes and villains, and flights over the mythical land of Alagaesia depicted in "dragon vision" -- are refreshing in their slightly out-of-date air.

A cute, well-acted film that tries to mix tones sharply.

At its core, a movie for children. There is no hidden adult story line, not much sexual innuendo and very little dry humor.

The kind of movie that gives sequels a bad name, even though, strangely enough, it's better than the 1995 hit that spawned it.

While Reyes seeks his own ambitious style, he can't quite step out from under De Palma's shadow and thematic choices. Everything from the voiceover narration to the final frame in Empire looks and feels like a low-budget hybrid of "Scarface" or "Carlito's Way."

It's clear that Roth was trying to say something about the brave new world of social media-enabled social justice, and public shame as a tool for change, but the message is garbled. That it comes wrapped in a horror package that just isn't truly scary or suspenseful is the real shame though.

Dark Streets lost me early, real early, like still-adjusting-my-eyes-in-a-dark-theater early.

Director Carl Reiner, an old comedy pro, does well enough with the comedy's dumb but funny big-bust and jock-strap jokes. [09 Aug 1985, p.D]

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.

Men in Black: International isn’t bad; it’s an improvement over “Men in Black II” (2002) and “Men in Black 3” (2012), sequels that even its makers may have forgotten.