A visually colorful but otherwise vanilla continuation of the series.

An odd, sweet and relatively innocuous little fairytale.

It may be possible that people who never go to the movies will stumble across Blow Dry and find it a charming way to spend an hour and a half, but the rest of us will have the ending written in our heads by the end of the first five minutes.

It does yield solidly comic performances.

A nicely-made action-thriller, one with analog car chases and non-digital explosions, like a long tall glass of cold water in a world that mostly offers you Bud Light or Crystal Pepsi.

Nothing less than stunning: a slapstick ballet of choreographed buffoonery.

It’s all, quite strangely, boring.

A more than worthy (and weird) holiday diversion for the whole family.

Hollow, uninteresting and false.

One of the least endurable films of 1999.

A nice enough reminder that as time goes forward, we have to as well.

It can be treacly -- but in a crude way, it makes its point.

Sandler repeats his sweet-souled doofus routine, with nerdy Patricia Arquette as the object of his affections.

What we have here is a small story in an oversized setting.

Comes across as a deceptively streamlined comic-drama; an unnervingly violent, gritty film noir with a wink.

Co-writers and stars June Diane Raphael (“Whitney,” “New Girl”) and Casey Wilson (“Happy Endings”) are genuine and true comic performers. Even though the story stunk, the set pieces were uninspired and the direction was downright wretched, when these two are “on” and doing schtick, they are absolutely fresh and hilarious.

For all of Krauss’ clearly good intentions, the film still falls staggeringly flat, even with the inclusion of a bold and unexpected performance from Vanessa Hudgens, doing her damndest to break out of the Disney mold and turn in actual work here.

For a movie with the ostensible mission of spreading the Gospel, it does a poor job of speaking to anyone except the faithful.

The movie is a mess.

Hogan's rough-and-ready charm remains intact, but it's not enough to salvage this instantly forgettable movie.

The fact that Johnny Depp alone gets top billing above the title, The Lone Ranger, despite not playing said character sums up the generally misguided approach taken by Depp and the creative crew behind the “Pirates of the Caribbean” franchise in bringing last century’s radio and TV hero back to the big screen in a big way.

Educational content, clever and photorealistic dinosaur CGI, and John Leguizamo voicing a prehistoric bird. What else would one need for a fun movie stew?

A pleasant surprise that The Crew offers up the charms it does.

A largely unenlightening work.

Relentlessly awful.

There’s no way to overstate the gorgeous look of this film, but the mannered dialogue and deliberateness of pace becomes less of an homage to Asian revenge films than a parody.

Tries so hard to push all the pre-ordained buttons, and it's so anxious to be liked, nay, adored, that it left me sullen and uninvolved instead.

Does have its share of bona fide chuckles, but it falls shy of its possibilities.