The movie, starring Rogen as a mall cop with anger management issues, is essentially a goony romp flecked with disturbing eruptions of violence.

As the boarding school honcho Father Benedictus, Geoffrey Rush chews so much scenery that he looks ready to burst.

The acting is excellent, and the movie has a good-natured spirit to match its ultimate faith in the hero's deep-down goodness.

Best viewed as an oddball career move rather than as a successful movie.

It's all energetically filmed, but I miss the cool, modest clarity of the first version. Bigger isn't always better, even at the movies.

Bland, amiable, innocuous.

This ghastly swatch of pulp horror is compelling at the most basic level, but so little is going on in it that you might as well be watching a sadistic lab experiment performed on mice.

The acting is capable and the suspense is effective at times, but the gore is grisly and the climax is surprisingly hokey.

Would have benefited from more flamboyant film clips and fewer folksy conversations with the garrulous old-timers it focuses on.

Pacino's performance in People I Know is the best thing he's done in ages.

Rowlands is superb, as usual, and Garner partners her with the grace of a dancer. Cassavetes's directing style is slow and stilted, though, indicating yet again that his notion of moviemaking is the opposite of everything his father, the great John Cassavetes, stood for.

Riveting and revealing whatever views you have on the partisan issues involved.

But the drama's attack on racism would be more persuasive if it rejected vigilante justice and recognized that hatred and violence of all kinds must be condemned if evils like bigotry are ever to be eradicated.

Stranger than fiction, indeed.

The movie is a decidedly mixed bag, in part, because of the equally pronounced disparities between Burton and Carroll – and between Burton and Disney, for that matter.

What follows is a phantasmagoria that is more cheesy than transporting.

Even though none of these guys is ready to kick the bucket, The Big Year has an unmistakable affinity with "The Bucket List."

McDonald and Montgomery are fun to watch in this mildly amusing Irish romantic comedy.

The plot is predictable, and the humor is uncreative and often crude. The heroine, however, is endearing in her quirkiness.

Some scenes in a Manhattan hotel have the amiable ring of old-fashioned farce to them, but most of the going is noisy and obvious. [10 Jun 1988, p.21]

Best performance, minute for minute, comes from Adriane Lenox, whose cameo as Michael's drug-addled mother is the film's standout.

Hamilton is played, blandly, by Anna Sophia Robb, and her devoted parents, less bland, are played by Dennis Quaid and Helen Hunt. The surfing footage, much of it shot off the coast of Kauai, is not bland at all.

Unnecessary profanity for PG, a little slow for grown-ups, but good for laughs and promoting sibling peace.

It’s respectable, safe, intelligent – and a bit dull.

Emma Roberts is squeaky-clean to a fault and so is the movie.

The story is an odd mixture of preachiness and paranoia, but the stars provide sizzling performances and the action moves at a lively clip.

Knight of Cups isn’t quite as fancy-flimsy as “To the Wonder,” which, as I remember it, consisted mostly of Ben Affleck gazing dazedly at wave formations, but it’s close enough.

Allen isn’t doing anything terribly deep-dish here, just gussying up the standard crime-movie tropes. To what end? His point, I think, is to demonstrate that human beings, no matter how educated, are capable of justifying the most awful acts.