The movie, which has more than 10 credited producers, feels like one of those slick, for-the-money projects Hollywood studios cook up via graph charts and marketing surveys.

With its convoluted pretentiousness, heavy use of metaphors and obscure references to art, fails to maintain interest.

Cradle boasts a couple of bravura fight and chase scenes but they're stranded amid the predictable and the pedestrian.

What saves Fly Me to the Moon from being a total wash is the actual mission itself.

Momoa, a familiar face from "Game of Thrones" to "Baywatch," has the muscles but not the imposing persona and barbaric presence that Conan requires.

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]

It lacks the simplicity and resonance of classic fairy tales: It's so muddled and belabored, it's hard to imagine the tykes ever staying awake long enough to hear how it all turned out.

Death Sentence would be right at home as one half of "Grindhouse"'s B-movie double bill.

Never reaches this level of devastating loss despite its tragedies, but it's not the dismal bomb that much of the British press claims.

Harmless, mildly enjoyable.

In its early moments, the movie evokes everything from "The Social Network" to "Casino." By the end, the film has become as exciting as a game of Old Maid. R-rated thrillers are hardly ever this dull and listless, but this movie manages to eradicate all of Timberlake’s charisma and makes you flash back to Affleck’s "Paycheck"/"Gigli" era. How does this even happen?

Harley Davidson and the Marlboro Man is lightweight, small-screen stuff. It has some genuinely funny moments, especially in the comic repartee between Johnson and Rourke. These guys have a likable chemistry, and they might be worth teaming up again. Next time, let's hope they have a script. [26 Aug 1991, p.C3]

Sitting through Action Jackson was like being dragged through a swamp of sick humor and nauseating violence. I needed a shower afterward. [18 Feb 1988, p.C4]

Road House makes Cocktail look like a documentary. [19 May 1989, p.6]

This is ultimately a movie about highly intelligent people in pursuit of trivial nonsense: At least Mulder and Scully caught a real monster every once in a while.

Whether his character is happy, sad, angry or scared, Spade affects precisely the same knowing smirk and sarcastic delivery. This one-note style makes him a funny stand-up comedian. But in a role, it's usually pure amateur hour.

The body part joke to alien joke ratio seems slightly skewed in favor of the former, which makes the humor more than a little repetitive. How many different ways can one film say: "Men are idiots"?

The movie is less painful than having your kidneys removed, but Turistas doesn't offer a trip entertaining enough to take.

Attention-getting it is. Entertaining, too. But meaningful? Are you kidding? [22 Jul 1984, p.D1]

The overwhelming sensation of deja vu is exhausting and disorienting. You really HAVE seen it all before.

There are three or four big laughs scattered throughout The Pink Panther 2, along with a smattering of decent chuckles. But all those moments combined account for maybe five minutes of screen time, which leaves you with another hour and a half of movie to sit through.

The film's highlight is that rarest of action sequences, the boat-car chase (happily for River Rescue, there's a good highway right by the water!). Striking Distance, which was directed by the aptly named Rowdy Herrington (Road House ), has few other surprises. [18 Sept 1993, p.G5]

Something Borrowed commits the most fatal mistake of all: Its characters are so deeply uninteresting that the audience can't get invested in their eventual happiness.

Christina Ricci is the best thing about this otherwise misguided, retro remake of the 1965 movie that starred Hayley Mills. [09 Aug 1997, p.2G]

The best story here is the one about how Stolen Summer made it to the screen; that's more compelling than anything that happens in Pete's world.

Bordello of Blood isn't quite awful, but there's nothing in it better than its catchy title. [19 Aug 1996, p.2C]

Take away the art direction, and Johnny Mnemonic is nothing more than a clunky chase flick, done with little skill or subtlety. [27 May 1995, p.6G]

License to Drive takes too much license with its nuttiness, playing wacky moments to the point where the comedy sputters. [06 July 1988, p.D6]