Sol doesn't knit the complicated story into a coherent flow, but there are many visually striking moments along the way.

Paris Hilton also turns up, still trying to be famous for more than being famous. She has a ways to go.

This low-key drama is always warm and mellow, although it doesn't build much of an emotional charge.

It's all so resolutely uninspired that even the kids in the audience may want to duck out.

Burns is one of the great entertainers of all time, but he's written out of the story much too soon, leaving us little to watch except Schlatter doing an endless Burns imitation. [08 Apr 1988, p.21]

Conjures up enough involving moments to create some drama.

The dialogue is dumb ('zilla has the best lines, "arrrrrggh" and "maaroarrr"), New York is waterlogged, and Godzilla isn't on screen enough.

Alex & Emma isn't nearly as clever as Reiner's classic "Misery," a very different look at a male writer and his female companion. But it's diverting fun.

The director, Roman Polanski, is often at his weakest in the comedy field, and the insipid vulgarities of this picture are poor substitutes for inventive gags. Yet he shows some of his erstwhile ingenuity when he crowds the screen with sumptuously filmed images of richly costumed characters, much in the manner of his underrated ''Dance of the Vampires'' a number of years ago. [25 July 1986, p.23]

Some of the human-interest stories are compelling, but too much of this film is as dry as a high school classroom presentation.

Strains to be shockingly original but winds up as cheap and cheesy as its characters.

Muddled screenwriting and uninspired directing.

Whitaker and Schreiber, both of whom are capable of brilliance, are stuck in one-dimensional roles. It’s not only the characters who have mechanical organs; the film itself is equally lifeless and cold.

A few mildly amusing gags don't outweigh the trite situations and mean-spirited attitude of this comedy.

Perfect Stranger is far from Hitchcock, and Berry, although she gets an A for effort, can't do much with the half-baked characterizations.

Full disclosure: I have to say I did laugh during Your Highness. Twice, I think.

The best you can say about This Means War is that it would make a good date movie for couples in the witness protection program.

Graham was good in films such as "Boogie Nights" and "Bowfinger" where her apparent innocence was a smoke screen for her lustful connivance. To be effective in the movies, she needs something to counteract her wholesomeness.

Quirky acting combines with Ferrara's dark, brooding style to give the throwaway story a noteworthy measure of dramatic and cinematic interest.

The movie works fairly well as a pitch-dark comedy, and very well as a dead-on satire of upward mobility and its discontents.

The comedy is shamelessly stupid and flagrantly vulgar by turns.

If the heroine really had seven days left, she wouldn't waste it watching stuff like this.

The chemistry may be good, the movie isn’t.

The story is harmless enough, with its bloodless violence and happy resolutions. The images are a bland mixture of cliches lifted from Tolkien and "Star Wars," among other sources, served up in wretched TV-style animation. Little children may like it, but they won't be richer for it. [06 Jun 1985, p.31]

There are a few hilarious bits, but even those are drowned out by constant gunfire and Morgan’s motormouthing. Willis is going through the motions; Scott is funny, if irritating; Morgan is irritating and not so funny.

There is one bit of good news. For all you abominable snowman fans out there, "The Mummy" is filled with yetis. And, boy, are they ever angry.

More concerned with quickening our pulses than broadening our minds.

If only there was less mush and more meat in this stew.