There's no bite or sting, nor is there a single moment when the film is anything close to scary. It isn't ever engaging, either; it's a dull, sluggish bum-out.

In his quest to capture truth and honesty, (Korine) has made a movie that is practically impossible to like.

Johnny Dangerously was directed by Amy Heckerling, who made Fast Times at Ridgemont High and, like most other female directors, has been waiting for a chance to make a lot of money with a movie, waiting for her breakthrough film. This ought to be it: It's a splendid sophomoric comedy, and these days, in the time of Hollywood's perpetual freshmen, that's saying something. [21 Dec 1984, p.D1]

But this serious film feels strangely unfinished, as if it hadn't been fully thought out. [18 Feb 1994, p.G5]

When Escape From L.A. isn't being ridiculous, it's merely dumb. It's no fun at all. [09 Aug 1996, p.6G]

Moments of life intrude, particularly with the periodic appearance of Eli Wallach as a superannuated hitman, a truly bizarre performance (he's got a sawed-off shotgun but his eyes are so bad it doesn't matter). And there are times when the sheer vitality of the two stars -- particularly Lancaster, who has not lost a thing -- promises to lift the movie. But it's too flimsy, and we're left with two stars in search of a story. For a while, it's fun watching them hunt. Then it's just a chore. [3 Oct 1986, p.D2]

The principal appeal remains the series' principal weakness as well. These films are all about the blurring of the boundary between dream and reality, which strikes at the heart of what film is all about. But this also means that at regular intervals, someone wakes up to find that it was all a dream, one of the hoariest and least satisfying devices in the history of bad drama. [15 Aug 1989, p.C5]

For its first hour or so, Oblivion is a visually mesmerizing, intriguing picture that doesn’t feel like the same-old: It engages your eyes and piques your curiosity. Then, gradually, the novelty wears off, the clichés start to pile up and we’re back to Post-Apocalyptic Dystopia 101.

The movie wants to be an exploration of family ties and the various ways in which the people we love respond in times of crisis, but the drama is unconvincing, the characters are ill-defined, and Fischer, so good on The Office, seems a bit incomplete without Jim at her side.

Has an even amount of hilarious individual ideas and moments as well as stretches that just seem gratuitously out-there.

Given the talent involved -- Bigelow, Curtis, Red -- you figure Blue Steel will break out, show something new. Never happens. It's just a tough little thriller with a long string of plot holes. [16 Mar 1990, p.G5]

Streep is simply amazing to behold, an actress who invests every fiber of her being -- every gesture, every inflection, every strand of hair -- into her performance.

For those with the patience to latch onto Van Sant's slow, methodical groove. It's worth trying.

There's an odd meeting of pathos and caper-comedy in Family Business, an uneasy blend of comedy and drama that never does seem to figure out what it's up to. The movie darts in one direction, then another. When it loses its way, it slows to a plod. It's a bust. [15 Dec 1989, p.5G]

Observe and Report conveys an essential truth about Rogen: Like every other actor on the planet, he needs good material to do good work.

Of course, Eddie Murphy is a funny man -- not the kind that throws around a succession of one-liners, but one who proceeds by hovering on themes. And, of course, he scores some points and gets some good laughs here -- and his quota of jeers, too. [24 Dec 1987, p.D7]

The movie is bouncy and zesty, its energy unflagging, and some of the big numbers are heavily tinged with Bollywood. Conceptually, it should have been a trip.

Like the type of music it celebrates, Rock Star is just a lot of posing, adding up to very little.

Feels so slight and trivial, like a cute but small idea blown up to proportions it does not merit. A surprisingly unfunny, belabored and unimaginative comedy, Bee Movie is a huge disappointment considering the extent of Seinfeld's participation.

Like a lot of anime, the movie remains entertaining even when you have no idea what's going on.

Josh Brolin and Robert Rusler star in this 1980s-era guilty pleasure that reimagines Romeo & Juliet as a war between rival skateboard gangs (yes, there used to be such a thing).

The great strength of Le Carre's novel was that it twisted the psyches of the characters as it tensed their muscles. This movie muscles through the action, but it takes the psychic tension out of the twists. [19 Oct 1984, p.D6]

Smart, entertaining update.

The Signal is too ambitious for its own good: The movie is built on shells of ideas and concepts that haven’t been fully thought out, and once it’s over, the movie collapses the more you think about it.

Children will at least be diverted. Adults, after they tire of trying to detect the hidden strings, are likely to find Batteries Not Included too manipulative to tolerate, but predictable enough that they can safely nap for long stretches. [18 Dec 1987, p.D1]

Succeeds where so many other recent horror pictures have failed: It consistently scares you silly.

Dream Team turns the excursion scene from One Flew Over the Cuckoo's Nest into a full-length movie. Unfortunately, it's a superficial reworking of a classic. [07 Apr 1989, p.1]

Its lingering hangover, however, is decidedly pleasant.