What makes this sequel work is the charm of its story.

The vilest film of the season.

It's hard to figure how the combination of director Carl Reiner, comedian John Candy and a movie with the title Summer Rental could come to nothing. [10 Aug 1985, p.D7]

An enjoyably preposterous thriller. [13 Oct 2008, p.E6]

You expect more from King. The man obviously knows a thing or two about terror, yet Sleepwalkers is a pastiche of old B- movies. Bad B-movies. [16 Apr 1992, p.F3]

The few jokes it does land can't make this more than a look-what's-on-late-night-cable event.

Director Jean-Marie Gaubert, who also directed this film's French predecessor, keeps the silly story barreling along.

Trailers make it seem as though Radio is all about football, but it's not, and once the film leaves the fall sport behind it wanders around in no particular direction until it reaches an abrupt, poorly executed ending.

The comedy is slapstick, the colors Day Glo, the outcome inevitable.

Has some very funny moments, it is weighed down by gooey sentimentality.

The film is supposed to be about tolerance, but the only acceptance comes in terms of how the islanders accept the Mormon teachings. Somehow, that doesn't quite feel divine.

Brosnan and Moore may not be substitutes for Tracy and Hepburn, but they're more than capable of making you smile for now.

There's an old-school innocence to Marshall's style, and it's satisfying to be whisked away from reality to this parallel universe where we find it possible to laugh amid such a fundamentally tragic scenario.

Eventually, though, Seeking Justice devolves into the usual business of chases and elaborate double-crosses that leave behind all vestiges of realism for the sake of popcorn thrills.

Emits a fishy odor, like a recruitment film for an obscure cult you'd rather stay away from.

It's a routine, who's-the-slasher melodrama, and for all its visual allure -- Stone and Baldwin bump and grind, in living color and in third-generation, off-monitor black-and-white -- it drags, and drags. [22 May 1993, p.E1]

The undeniable star is the diminutive comedian. He’s the glue that holds the movie together when it wanders into the weeds and starts believing it’s a serious meditation on relationships.

The movie does miraculously end up making good use of a couple of running jokes, and the cast soldiers on, though the laughs are meager. But mostly, Girl Most Likely is a case of good actors in serious need of worthwhile material.

(Theron) and Depp give lazy, almost irrelevant performances... resolutely unmoving.

Plays like a colorful but inert timekiller that you might tolerate while dozing off in front of the TV, but only because you are too sleepy to reach for the remote control.

The humor tends to be broad, but the spritely pace doesn't allow for too much lingering on the jokes that don't land (really, we've seen enough morning sickness bits to make us gag).

Not entirely unwatchable.

Navy Seals is all action, no talk, and it never slows down enough to let you see how dumb it is. But the sudden lack of enemies in a world gone crazily, treacherously peaceful is a problem for Hollywood. [20 July 1990, p.G5]

The formulaic movie would be forgettable but inoffensive if it were anyone else posing for blue screen CGI effects.

Until it collapses into a pile of contrivances, Don't Say a Word makes for a serviceable, workmanlike thriller.

Death to Smoochy? Yes, please.

After a while, hearing Martin say ''Zee area eez zecure!'' doesn't cut it any longer, and that's pretty much all The Pink Panther has to offer.

The remake seems to have been written and directed by people whose only experience with children is the long-distant memory of having been kids themselves so many years ago.