Jackpot ends up a lot like Sunny's singing: pointless and more than a little flat.

Ultimately, Bad Boys is too slick for its own good; all gorgeous photography and little story. It's like a two-hour-plus music video. But it probably will be a hit. Lawrence and Smith are hot, and if the Beverly Hills Cop formula worked with one comedian, it should certainly work with two. [7 April 1995, p.5G]

In his first starring role post-Harry Potter, Radcliffe must carry the movie with little dialogue and practically nothing to play other than fear, constantly reacting to creepy toys that suddenly spring to life and reflections in windows that shriek unexpectedly at him.

Director Scott Marshall and screenwriter Mark Zakarin pander to Jewish viewers the way Andy Garcia's "The Lost City" panders to Cuban Americans.

Brooks as Brooks is the funniest observer of contemporary mores in Hollywood. Brooks behaving himself, as in Defending Your Life, is just another clever fellow. [05 Apr 1991, p.G5]

Only two characters are worth much notice; neither is a prince, and one is a really big mouse, which tells you something sad about Narnia's royal family.

Its stop-and-start feel keeps you from ever getting fully absorbed in the story.

Johansson is magnetic enough to make this batch of Southern-fried corn almost digestible.

If watching cartoon characters spout four-letter words is your thing, this might well be the greatest movie ever made.

Jobs works much better as a history of Apple than it does as a portrait of the genius who dreamed it up.

The film hardly aims to be serious entertainment, and, to its credit, it's never uninteresting visually.

I haven't watched "Fargo" in a few years, but I still remember almost every scene. I saw Thin Ice two nights ago and cannot in all honesty tell you how it ends.

You watch it in stunned disbelief, wondering how a movie that started so strongly devolved into something so absurd.

Unfortunately, disappointingly dull, a lumbering Bore-us-saurus of a movie.

The 6th Day gets a lot of mileage out of Schwarzenegger, who once seemed incapable of playing anything other than a cartoon but is becoming more and more of a "real" person with age.

The movie is a lowbrow showcase for an equally lowbrow comedian, and how much of it you can endure depends entirely on how you feel about Kattan.

You can tell they're desperate when they unashamedly resort to showcasing cutesy sea-creature behavior. Sandler is a funny guy. Let him work for his own laughs. He doesn't need a puking walrus to prop him up.

The result, as is always the case with short story collections, is a mixed bag, although unlike "Paris Je T'Aime," the duds outnumber the winners this time.

This inventive family movie sets up the most delightful premise, then squanders it on the kind of yawn-inducing CG adventure you might expect from one of those long, plot-heavy cut scenes that slow down video games.

A momentary diversion.

The movie will disappoint basement-dwellers who worried a female-centric Ghostbusters would somehow ruin their childhoods, because it isn’t bad enough to hate. But the film is an even bigger letdown for fans of Melissa McCarthy, Kristen Wiig, Leslie Jones and Kate McKinnon, who are forced to play most of this material straight, with no room for comic improvisation.

Much of The Men Who Stare at Goats is indeed amusing, although mostly in a mild, setting-the-stage kind of way, and your smiles eventually turn to yawns.

As is usual for this durable genre, victim and villain are well matched. Though House on Sorority Row does not have a single screeching-cat red herring, and though power tools are not employed, it does have a classic of low camp, a scene in which a girl who has just been nearly brained by a falling corpse repairs immediately and alone to her bedroom, where she changes into a baby-doll nightie and stands with her back to an open window. [23 Feb 1983, p.B4]

It's not that Sahara is offensively bad: It's just that the picture, loud and busy as it is, never really finds its own identity.

The best thing about this mildly diverting but instantly forgettable comedy is that it seems to have awakened something in Murphy that had laid dormant for much of the past two decades.

When Collet is interacting with other kids or with his girlfriend and partner-in-crime Jenny (Cynthia Nixon, who played Mozart's maid in Amadeus), The Manhattan Project is a witty, enjoyable teen-age movie. But when, laughs and all, it is addressing the nuclear perils -- timely as the topic might be in the aftermath of Chernobyl -- the project dries up under the spell of sophisticated visual values, glossy props and sexy laser lights. [13 June 1986, p.D3]

Technically a prequel to "Da Vinci" but could also pass for a two-hour episode of "24," rarely stands still long enough for anyone to deliver a monologue.

Detention has a frenetic visual style that's fun and appealing in a lot of ways, but there are way too many elements fighting for attention.