Like too many sports-related movies, this one falls back on that One Big Game, the final score that will set everything right.

Though trailers for Little Black Book try to sell it as a zany romantic comedy, don't judge this book by its cover. Those who stick with it will be surprised and maybe even laugh in between a tear or two.

Bewilderingly bad.

Imagine "Twins" with the Danny DeVito part played by a dog, or "Lethal Weapon" with the mastiff standing in for Mel Gibson. [28 July 1989, p.A]

Clean, precise and terribly sullen, After.Life is like its female protagonist. It feels stuck between worlds, or genres.

Director Richard Rush is one of the more talented and mysterious figures in American filmmaking. But though it has been 14 years since his last feature (the 1980 live-wire classic "The Stunt Man"), his new movie, The Color of Night, is sometimes just as hip, lively and blast-your-eyes funny as ever.

The poster’s the funniest thing about the project: Johnson, sporting a pair of fairy wings larger than his forearms, glaring at the camera.

By forcing definition on Flux, the filmmakers rob her of any allure. What do they offer instead? Clumsy exposition, bland PG-13 gunfights and subpar computer animation.

Are the results funny? In the margins, yes.

Add the American work ethic to an Italian bedroom farce, give it to a director reknowned for small, natural, gently humorous films, and you come up with Loverboy, a comedy that is more often distasteful than funny. [2 May 1989, p.7C]

It's a real shame that most new boxing movies try to copy the crowd-pleasing, sentiment-choked tactics of "Rocky" rather than the stark drama of "Raging Bull" or the realistic grit of "On the Waterfront" and "The Harder They Fall." Against the Ropes is only the latest sorry example. The sad thing is that, with this real-life story and subject, it could have been a contender.

Crass, shoddy and crudely exploitative of the public's worst instincts, John Badham's Bird on a Wire reflects just about everything that's wrong with American movies right now.

The biggest surprise may be what the filmmaker doesn't show; he withholds a big dramatic payoff, so the audience must fill in the blanks.

Horror movies don't have to make sense in the real world, but when you have to help their internal logic along this much, it's pretty much a cue for heckling -- or checking your watch.

Feels like a demonstration reel for toys, action figures and future DisneyQuest installations.

Unintentional comedy that will bore even the 15-year-olds at which it is undoubtedly aimed.

Serves as both an homage to and shameless thief of its influences. The result: a sprawling, deformed, undisciplined piece of cinema that hobbles along on weak, genre-splicing tactics.

Sometimes, you can use a smaller devil to catch the Devil, the movie suggests. But in this case, the entire movie goes to hell in record time.

Cusack puts in work as Paul, an old-fashioned hero. But he seems miscast and can't quite modulate the levels of camp in his performance.

The most vivid aspect of The Eye is its poster image, that of a huge female eye with a human hand gripping the lower lid from the inside. The least vivid aspect is the way Jessica Alba delivers a simple line of expository dialogue.

"We had fun, didn't we?" asks Prince at the end, just before he goes to heaven. It's nice that somebody did. [04 Jul 1986, p.3C]

The only two onscreen items with any star quality belong to Simpson, and they're barely contained in shirts that seem to be holding on for dear life. Comedy fans, beware; breast fans, rejoice!

The overall picture doesn't have the kind of true wow factor that would make this one stand out from the rest of the pack.

The Canyons may not work, and the sex (as well as the synthesized glop on the soundtrack) may be tragically unhip, but it was made by a director who still cares.

On the whole, I’d go with the 2018 basketball comedy “Uncle Drew” over either “Jams.” One-joke movies, all three. But it helps when the gags don’t stop at the reference point and dribble in place while the clock runs out.

It's a pretty entertaining, extremely good-looking cinematic blip--not important, not outstanding, but better than a lot of PG stuff that attempts to reach both parents and their 8-year-old kids.

It makes the viewer wonder whether Circuit would have been stronger as a documentary instead of the well-intentioned, overlong, intermittently entertaining but flawed feature that it is.

Plays so flat, so to close its "movie message" formula, that it seems as if we've seen this movie before.