Crash-lands as disastrously as the heroes and never quite recovers its wits.

A romantic comedy that's pleasant, if not exactly spellbinding.

I guarantee you, if Charles Dickens were alive today, he might well be writing movies but he sure as shootin' wouldn't have written "Ghosts."

While the story and acting are the opposite of subtle, young moviegoers may enjoy the action and suspense.

Very broad, very brash ''film noir'' satire...The action is fast, flashy, sometimes funny, always loud. [13 June 1986, p.25]

As a laughing-through-tears jokester tourist, Richard Dreyfuss provides the only moments of real acting, as opposed to overacting, mugging, and scenery chomping.

Even in a misfire like The Happening, Shyamalan has a fine feeling for dread. He knows how to creep you out. But he has a tin ear for acting.

The direction is fairly formulaic, the special effects are nothing special, and except for Elba and McConaughey, who square off against each other in a series of ho-hum set pieces, the cast is forgettable. So is the movie.

The premise is promising, but Herzfeld cares more about sensationalism than substance, and portions of the picture are far nastier than they had to be.

While it may supply giggles and shivers to preteens, grownups should think twice before entering this all-too-haunted house.

The people who made Year One seem to think that all you have to do to make a hit comedy is get a bunch of jokesters together. But where are the jokes?

Uma Thurman looks frumpy in Motherhood. This is the only pressing reason to see it.

Wants to appear bold and liberated, but it seems awfully solemn about the subculture it explores.

Chapman coaxes good performances from his cast, especially Wilson, who makes Joe's immense conflicts a matter of empathy as much as abhorrence.

The only heartfelt moment of this movie for me came in the end credits, with its dedication to the late Alan Rickman, who provided the voice for the blue butterfly (and former caterpillar) Absolem. What a voice, what an actor, what a loss.

Too bad (Arnold) can't save the movie from it's superstitious clap-trap, sadistic violence, and sheer silliness.

Dull despite its suspense-driven story.

Starts quirky, grows steadily darker, doesn't build much excitement.

It's picaresque, all right, but full of ethnic stereotypes, and filmed much too blandly to compete with the superb ''Black Stallion'' of a few years ago.

Travolta and Jackson have some effective scenes, but Nielsen is lacking in charisma, and James Vanderbilt's screenplay ought to be court-martialed.

Unexpectedly entertaining, if you're willing to put up with the picture's stagy look, over-the-top moods, and heavy doses of vulgarity.

As the gambler who needs his basketball phenom brother to shave points, Whitaker has some expressive scenes, and Roth knows how to make malice gleam. But almost nothing else in this movie does.

The adventure is vulgar and violent, although the special effects are impressive.

This is the kind of movie where a character can't just say "the fire's not out yet," they have to say "the fire still lives in these stones." It made me yearn to see "Caveman" again. At least that was INTENTIONALLY funny.

It pales beside the best down-and-dirty political movies (ranging from "The Candidate" to "The Manchurian Candidate") because, finally, it lacks the courage of its own lowdown convictions.

The comedy isn't quite as crude as it sounds, but there's not much of value here beyond a little lively acting.

The plot isn't very original, but the acting and dialogue have a low-key realism that packs more emotional punch than a dozen of the standard-issue romantic dramas crowding the independent-film scene.

Safe Haven is a species of Gothic chick flick.