It probably won't matter to its core audience that The A-Team doesn't make a lick of sense.

The film is more testimonial than drama.

Since the only really good "Planet of the Apes" movie was the 1968 original with Charlton Heston, I've always wondered why filmmakers can't just leave well enough alone.

Granted, this is not automatic laugh-riot material, nor should it be, but didn’t Fey recognize how hackneyed it all is? Does being a movie star mean blanding out everything that makes you special?

Hailee Steinfeld’s Juliet is rather lovely and rather bland; Douglas Booth’s Romeo might have stepped out of a special Renaissance Faire edition of GQ.

The Great Gatsby isn’t simply a classic American text: In Luhrmann’s hands, it’s also the greatest self-help manual ever written.

His rise from a marginalized Jewish boy in Nazi-occupied Paris to his chain-smoking fame as the composer of such Euro-hits as "Je t'Aime … Moi Non Plus" is presented as one long, hallucinatory jag, revealing far less about Gainsbourg, I would imagine, than about Sfar.

Clocking in at 160 minutes, this interminable movie comes across like a rough cut. Perhaps Lee believed its length would give it gravitas. The opposite is true.

It's not the retro attitudes in "Confessions" that bother me (at least not much). It's the lack of laughs.

This is the 10 zillionth film about a friendly-seeming villain invading a contented home, but exploitation of child abuse and baby-stealing make this one a particularly nasty business.

Lots of filmmakers, lots of opportunities, lots of bad taste, very few laughs. [25 Sept 1987, p.23]

Brooklyn’s Finest does indeed provide a new genre twist. This must be the only cop movie ever made where a character is driven off the deep end by mold.

Swinton's performance, and practically everything else about Julia, seems off – tone-deaf. She plays an out-of-control wastrel who enters into a kidnapping scheme gone horribly wrong, as does the movie.

Money Monster turns into an unintentional parody. Investing in this movie would not be a safe bet.

The casting of both Riegert and Allen may sound like an "Animal House" reunion, but the two have no scenes together.

Perhaps Nair believes that heroism in our tabloid era has become degraded. If so, she overcorrected. Amelia is so pure in heart that it slides right off the screen.

Sean Connery retains some self-respect as the doctor, but the rest of the movie pulls up very short. [16 Sep 1994, p.15]

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

It's a distasteful jumble that stirs up the worst instincts of its audience by heaping abuse on Bill, encouraging us to identify with him, then prodding us to enjoy his bursts of venom and violence. [1 Mar 1993]

The cast, at least on paper, is formidable, if ill-used.

Ought to have been state of the art. But there's not a whole lot of artistry to be found in this movie.

This movie is "Finian's Rainbow" for dunderheads. Rudd has a few amusing moments talking to himself in a mirror (he's trying to convince himself he's a stud) but he would have been better off talking himself out of this film.

I kept expecting Sacha Baron Cohen to traipse onto the scene. Alas, he doesn’t.

By turns antic, frantic, and dull, "Pippa Lee" is unconvincing – emotionally, dramatically, filmically.

The filmmaking is TV-movie-of-the-week dull and Robinson’s ordeal is hammered home to the exclusion of virtually everything else in his life.

A young and as-yet-unformed actor, Stewart is cast in a role she's simply not ready for, and her effort to work hard – exactly what any actor must hide from the audience – is painfully visible in every scene. By contrast, Pattinson is smooth as glass, a born movie star who only needs to slant his eyes to grab attention.

Blanchett miraculously gives a good performance, even when saddled with lines like this one, to Clive Owen's Sir Walter Raleigh: "In another world, could you have loved me?"

Sometimes empty is just empty. What Gertrude Stein said about Oakland can also apply to Somewhere: "There is no there there."