Had Lucky You played strictly as a father-son drama set against the background of competitive Texas Hold 'Em, it would've been a much better movie based on the strength of Hanson's direction and Duvall's performance alone. But no, somewhere along the line they had to make this a romance, and that's the movie's fatal flaw.

Everything that made the original Chainsaw a classic is ground into the dirt in this new version.

The nine characters aren’t machines, exactly, but they aren’t people or animals either. They’re little cloth pouches that can move, communicate, and make facial expressions that range from ornery to cute. At some point during the movie I began mentally referring to them as the Owlish Beanbags.

Is love a disease, as Marquez possibly wanted us to believe? Maybe, but in the case of this adaptation, it’s more of a laughing sickness.

After watching this movie, you get the feeling that there’s a lot of people at Harvard who’ve done worse things than rob a bank to get in.

The film's screenplay is thick with major lapses in logic, resulting in a story that ultimately makes little sense.

Filmmaker Hany Abu-Assad, who helmed the excellent "Rana's Wedding," missed the boat on this one. He may have hoped to give a human voice to the suicide bombers, but instead he gave them a misfired movie.

Not exactly screwball, and not exactly sentimental, but an uneasy and uncertain mix of the two.

The whole film appears over-blown and pumped up on marketing steroids.

The biggest problem with Elizabethtown isn't in its shopworn theme, but that it's perhaps the first of Crowe's movies (though "Jerry Maguire"comes very close) that really feels forced.

Davis and company need to be taken to task for giving us a movie that makes rescue divers, arguably among the most death-defying of professionals, boring.

Demonlover would have probably been plane insufferable without Gina Gershon. All the other actors are doing an outstanding job of playing essentially dead souls, and it's a saving grace that Assayas allowed her, at least, to have some fun.

If there is one high point to be found, it's that Julie Andrews sings for the first time since her 1997 throat surgery.

It's just dumb.

In the end, Surveillance is a puzzle box film that has nothing to offer except the various puzzle pieces. The characters do not stand out, the drama is not compelling, and the screenplay is light on even remotely interesting dialogue.

Despite obvious tension between the two groups of characters and the considerable bloodbath that follows at the lakeside, Camping Trip does not formulate a dark, horrifying atmosphere or a psychologically-heavy tension.

Quite frankly, the film looks terrible and moves with painful slowness, while the voice performances by both the juvenile and adult actors are so lacking in character that one could almost assume the cast performed their lines phonetically.

Spoof or tongue in cheek update, the movie squanders the lion's share of its time on tired, cartoon-quality sequences choreographed around ho-hum chases and explosions. None possess the satiric zip of Austin Powers-style parody.

There isn’t much story before the shooting starts, so watching the stuff that doesn’t blow up adds nothing.

B movies are fun because they're rinky dink. I got the joke and just didn't like the joke even though I respect Gunn for doing what he wanted to do.

With “Chamber of Secrets,” all we get is a f____ "Scooby Doo" episode. Boo on everyone involved...BOOOOOOOO!

While one can detect a genuinely amusing screenplay somewhere under the flat direction and mysteriously stiff performances, the film is tediously slow.

Achieves the impossible in taking a genuine socio-political tragedy and turning it into an anvil drama which will fray the patience of the most sympathetic audiences.

While the setup is intriguing, the film quickly loses steam, becoming a muddled chase interspersed with concert footage.

While Fryar is a charming man and his work clearly deserves recognition, A Man Called Pearl is an obvious case of building a three-story house on a one-story foundation. Really, can you make a feature-length film about a man who carves unique shapes out of trees, shrubs and bushes?

Deserves credit for beautiful sets and the obvious care that went into reconstructing the old town of San Antonio de Bexar, as well as for Thornton’s performance. Unfortunately, the stultifying dialogue and lack of real tension sink the film.

It’s stale, a relic from another time that’s strenuously updated and forced into 2024.