In the half-baked American Reunion, though, they might have accomplished what no previous chapter has: They might have just killed it.

Gray Man is colorful, lively and admirably self-aware of its place in today’s cinemaverse.

Not only did Hughes shoot a handful of prominent scene-setting exteriors in the Big Apple itself, but he does an exceptional job of camouflaging his New Orleans scenes.

Not only does the largely disposable Terminator Salvation fail to advance the franchise's overarching rise-of-the-machines storyline (a better title: "Terminator Stagnation") but, worse, it never manages to distinguish itself from any other reasonably budgeted action film.

Thoroughly, and disappointingly, pedestrian.

As an unapologetic genre exercise, it's also fairly harmless, painless stuff. Thanks largely to the work of its cast, which does more with Tracy Oliver and director Tina Gordon's decidedly uneven, underdeveloped script than anybody has a right to hope for, Little ends up being mostly enjoyable in its own lightweight, empty-calorie and entirely unexpected way.

Audiences won’t likely find it Pixar-profound, but it’s not direct-to-DVD forgettable, either — or “My-Little-Pony”-cloying. Plus, it’s got horses. And, if you’re younger than 13, that counts for something.

Its smattering of enjoyable moments aside, this is one of those horror films that will beg to be remade -- just smarter -- once this initial outing fades into the memories of moviegoers.

Like the character at its center, Wein's film suffers from a certain sense of inertia, which is where Gerwig comes in.

There's little refreshing or charming about it.

The actors never stray too far from their comfort zones, resulting in a sporadically funny but mostly bland crime comedy that only occasionally feels fresher or more memorable than that cold pizza you scarfed for breakfast Monday morning.

Like the original, it is a moody, atmospheric film, one boasting significantly more depth than your typical blow-'em-up.

There are things about it that will catch the eye, that will pique your interest. Just don't make the mistake of expecting a big payoff.

You won't feel like a hostage watching it. But don't be surprised if you feel a little as if you're doing homework.

Most normal people will not see this as a "pleasant" film -- I hope that's the case, anyway -- but it certain makes you feel something.

Director Daniel Barnz's soft-play indie drama is a compassionate but emotionally raw film, one that traffics in such thoughtful ideas as personal redemption and emotional resurrection.

Does his film fishtail around narratively? Does it feel overly episodic? Does it lack any sort of stick-to-the-ribs substance? In order: Yes, probably and for sure. But it is also a fun and enjoyable summertime diversion, and sometimes that’s all the message a movie needs.

Like the often glittering fashions it mostly celebrates, Altman's movie is a melange of hits and misses. The root of the problem is a wildly uneven script (by Altman and Barbara Shulgasser) that contains both near-brilliant bons mots and shopworn banter. [23 Dec 1994, p.L26]

While Nattiv’s film is a heartfelt tribute, it feels like a mere Polaroid snapshot of a woman who deserves a full panoramic portrait.

Ritchie is simply trying to buy a good movie here -- and forgetting that a little brainpower is also required to complete the job.

It's a film that benefits greatly from Clarkson's well-seasoned chops, given that the first act of October Gale -- while illuminating with regard to her character -- boasts precious little dialog.

A key strategic decision in the success of this 100-minute feature is Greengrass' determination to accentuate the humorousness of his salty-tongued heroine and valiantly resist the temptation to sentimentalize her plight. The upshot is a touchingly off-kilter, bravely platonic love story that -- wonder of wonders -- never turns sticky. [5 March 1999, p.L28]

At some point, Lee as a storyteller must step in to move things along, to dig the rudder deep into the narrative waters and steer this ship. The destination is almost irrelevant - just steer it somewhere.

There's really nothing definitive about Emperor. Or memorable, for that matter.

It's done with affection, so it's hard to begrudge Hill for indulging in a postcard cliché or two. After all, it - like Hill's movie as a whole - certainly beats a bullet to the head.

Nothing about the outcome of "Fortress" will surprise anyone, but getting to that point entails some nerve-racking excitement and even a few laughs. A raft of top-flight special effects add visual and conceptual interest to the proceedings - that Gordon wisely limits to 90 minutes - while an actor named Jeffrey Combs (in the role of a gonzo computer whiz named D-Day) does a crackerjack job in support. [10 Sept 1993, p.L22]

A movie that wants to be a crowd-pleasing romantic comedy at times and a weighty drama at others. It ends up being an imperfect blend of both.

It's an oddly inert film that suffers from its lack of focus on the stories that stand as Tolkien's chief literary contributions.