Each of those fine actors has put in a performance or two; each has made a mark. Each has made a mark here, too, if one counts dark blots on the resume. Reynolds is good; they're awful. Perhaps this is because Reynolds was directing them. He may be too nice a guy. There must be a reason. [26 Apr 1985, p.D1]

Much of the big-surf footage is stunning; some of it is terrifying. But is it worth sitting through North Shore to get to the big sets? No way, dude. [14 Aug 1987, p.D5]

Pseudo-profound fluff.

Just one more in the plague of weak Cinderella stories released in the past year. It's too sugary to be good for you, but in the end, its over-the-top sweetness won't kill you.

Cage plays his part in exactly the mode of the maimed swain of Moonstruck -- his voice is flat, his jaw slack, his eyes glazed over. He knows it's junk, and he just can't help himself. [26 May 1990, p.E1]

Blended isn’t Sandler’s funniest movie or his best, but it is a big step up from the dregs he’s been churning out, a messy, shaggy dog of a comedy that you can’t help but like even as it sheds all over your house.

It's up to O'Donnell to carry the show, and he's simply not up to the task.

Derivative and lead-footed, Trapped in Paradise is another addle-brained comedy that portrays small-town folk as inbred, backwoods hillbillies who wear funny hats with ear flaps. Writer-director George Gallo, who penned Midnight Run and Wise Guys, tries to shoehorn holiday cheer into the formula, with stifling results. [02 Dec 1994, p.G5]

A soulless, witless, landfill contraption that Smith once would have mocked mercilessly.

Senseless. [15 Sept 1989, p.33]

The plot gimmick not only makes the sequel unworthy of Highlander, it nearly destroys the charm of the original, which was its worldliness, the idea that these guys were chosen humans. [05 Nov 1991, p.C7]

Tomb is the kind of movie you sit through dreading the expository scenes, because the acting is so bad and the dialogue so pointedly written to make sure the little ones in the audience can keep up with the plot.

There's no real artistry to this: It's as though Parker has just seen "Seven" and suffered some sort of David Fincher flashback.

Unfortunately there’s far too little magic in this clumsy attempt to marry fantasy and realism; the film doesn’t have the grace or imagination to bridge the gaps between the two.

The intended satire doesn't deliver the kind of punch you may expect, but it nevertheless poses many what-ifs.

Have you ever noticed how it's always the worst horror movies that go really far out of their way to lay the groundwork for a sequel?

Bulletproof is a lobotomized rehash of Midnight Run. [11 Sept 1996, p.4D]

It's not quite true to say that death is preferable to sitting through Over HerDead Body, but it's a safe bet that if you struggle through this witless romantic comedy the lure of being six feet under will cross your mind.

There’s exactly one good scene in all of The Hangover Part III, a hilarious bit of business halfway during the end credits that reminds you what made the original film so good.

The idea, I suppose, is that love connects us all, even when it goes wrong. Fortunately, even love doesn't usually go quite so badly as this movie does.

Here, finally, is a superhero movie your AP English teacher can enjoy.

Don't expect perfection, and you'll emerge from this goofy movie all in one piece, with reasonably entertained kids and a milder headache.

The film is so gleefully ridiculous that you start to suspect the filmmakers were in on the joke and forgot to tell the actors.

Silly, overplotted conspiracy thriller.

The original rock songs on the soundtrack, which are supposed to make Lestat ''bigger than Elvis,'' are terrible -- a common challenge for movies about fictional musicians.

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

This thoroughly unoriginal splatter flick is littered with references to Hooper's seminal work and lifts the plot directly from its predecessor. [15 Jan 1990, p.C6]

It is a grim and monotonous affair despite the overkill of bad guys -- a trio of evil spirits plus a bonus serial killer -- mixed with a few cheap shocks futilely intended to make the audience jump.