No rose-colored memories can improve this tedious interpretation of the famous girl detective's adventures. Nancy Drew falls somewhere between "The Haunted Mansion" and the live-action "Scooby Doo" movies in terms of quality but is more irritating than either.

The arsenal is empty, and there’s nowhere for The Truth About Emanuel to go except — unfortunately — downhill.

There are more fight scenes in this movie than the first two installments, but the plot is silly and the come-from-behind climax isn't believable. The movie's only asset is Griffith's hammy performance. [30 June 1989, p.H12]

Sometimes I suspect there is secret high-stakes contest in Hollywood among filmmakers to try and come up with a movie without a single original idea. If so, Life As We Know It is a contender.

Feels static and constricted, its intensity dulled by overreliance on dialogue.

Flowers' ''style'' suffers from attention deficit disorder, leaving just enough vital information for you to follow the convoluted plot. But just when one story gets rolling, he's off and chasing another.

There is absolutely nothing in this prequel/remake that improves on the first film or negates it in any way. If you've never seen The Thing - and you really should - stick with the genuine 1982 article and skip this elaborate act of mimicry.

If you think putting grapes in your nostrils is hilarious, you'll like Good Burger. And if you think taking the grapes out and eating them is even funnier, prepare to fall in love. [25 July 1997, p.4G]

Art School Confidential, the first disappointment from director Terry Zwigoff, is all glum, dour cynicism.

There's plenty of action, but it's all the same.

With its unfathomably stupid plot, half-hearted laughs and slow-witted action, can only be considered a waste of time. Especially yours.

In Snow White and the Huntsman, this talented but woefully miscast actress (Stewart) is expected to rally an entire army of soldiers, even though she usually looks like she forgot the combination to her locker.

If "Casino Royale" and "The Bourne Ultimatum" represent the new breed of 21st century action, then Rush Hour 3 is Stone Age stuff. The movie aims for irreverent, but delivers irrelevant instead. Let's hope the Rush Hour series stalls here.

Instead of watching a professional actor pretending to be intellectually disabled, we're watching a jackass pretending to be a dimwit pretending to be intellectually disabled.

The movie is a clumsy and uninspired mess, which is not to say that it's not funny.

The unrelentingly dull Where the Money Is tests his (Newman's) legendary charisma in a way no actor could overcome.

Jason Statham gives the best performance. Dolph Lundgren gets the best character arc. Terry Crews gets the best gun. Jet Li gets the best kill (you'll know it when you see it).Arnold Schwarzenegger gets the best cameo. And Sylvester Stallone? He gets the blame.

The actors are their usual reliable selves; you can't really blame them for the unlikely mess Levity becomes.

A by-the-numbers sports drama with a death grip on clichés and acting every bit as flat as the mat, seems unlikely to draw much of a crowd.

For anyone who digs hardcore motorcycle racing, Supercross delivers enough engine-revving, dirt-spewing motorcross action to satisfy even the most intense adrenaline craving.

There's no real reason to see this movie. It's exhausting and pointless and not amusing enough to make up for its failings. You can do better. The filmmakers could have done better. Honestly, you're better off staying home and making hummus.

A fairly tedious, stupid picture.

Jurassic World gives you exactly what Howard’s character promises at the beginning — More! Bigger! Faster! — but you know there’s something deeply wrong with a film that expects you to shed tears over digitally created prehistoric creatures and rubber brontosaurus heads instead of rooting for, you know, people.

There's a startling moment 10 or 15 minutes into The Adjustment Bureau - the only time, really, when the film achieves any level of surprise. The dispiriting dullness of this dreary misfire hasn't had time to settle in and thicken: The movie hasn't yet revealed its utter and thorough ineptitude.

There are jokes in this story of a 7-year-old adoptee from Heck, but most of them are funny despite the clumsiness of their telling. The rest aren't funny at all. [1 Aug 1990, p.D7]

The film is cold, and despite the principals' considerable thrashings, utterly uninvolving. The overarching theme, gunplay notwithstanding, is tedium. [02 Jun 1989, p.5]

Exorcist III is as gory, convoluted -- and deafening -- as any Nightmare on Elm Street sequel. [21 Aug 1990, p.C4]

The best stuff in Jumper comes early, while the movie is still busy explaining its scenario. It's only when all the pieces are in place and the story actually kicks in that things start to fall apart, and quickly.