Large chunks of the film seem like a record played at the wrong speed: The tempo of the dialogue as delivered doesn't match the lines as written, and the filmmakers are too lazy or too inept to make their convoluted premise jibe with any recognizable idea of human nature.

A screwball farce that pulls off a pitifully low percentage of its gags, even with a star-crammed cast.

As About Alex moves toward its conclusion, it devolves into some plot resolutions that were a lot less predictable back in the ’80s.

Dicey entertainment, indeed.

The film gets one star from me for the admirable brevity of its running time and another for the definite article in its title, seemingly an implicit promise that there will be no sequel.

Starts out as a thriller inspired by that city's 2005 Tube and bus bombings but gets bogged down in a family soap opera.

The surfing sequences are some of the best I've ever seen in a film, and the re-creation of Jay's climactic battle to ride El Nino-driven waves is real white-knuckle stuff...But neither Curtis Hanson ("L.A. Confidential") nor the fellow veteran director who replaced him when Hanson took ill, Michael Apted ("Gorillas in the Mist"), can do much with the hokey sequences on land.

As mechanical and predictable as a cuckoo clock, it shouldn't work half as well as it does.

First-time director Ed Solomon has corralled a stellar cast for his indie drama Levity -- and then put them through paces as plodding as a draft horse's.

The shooting sprees are full of razzle dazzle. The final gun battle -- between Kong and the police -- is especially effective.

Unfortunately, Scorpion King has none of the qualities -- epic sweep, relative originality and heartfelt bloodthirstiness -- that made "Conan" so trashily entertaining.

There's 80 minutes of mawkish, overacted melodrama - laced with gratuitous violence and profanity - before we get to anything more than the briefest snippet of a dance number.

Like the reanimated corpse of a teen queen, this would-be cult movie looks the part, but has little going on inside.

Steve Carell is fatally miscast as an arrogant, flamboyant third-rate magician in The Incredible Burt Wonderstone, which by all rights should have been a second-rate Will Ferrell vehicle.

As the fourth entry of a painfully uninspired series, this version features new actors portraying the trio of adolescent warriors. [10 Apr 1998, p.49]

Directed by Anthony and Joe Russo of “Avengers: Endgame” fame, the well-worn drama gets high marks for style and proficiency, but you don’t have to be Nostradamus to know exactly where it’s going every step of the way. At the movies, stories like this one are a dime bag a dozen.

The only conceivable reason for Warner Bros. to (barely) release this mush is as a favor to Clint Eastwood, whose daughter Alison directed.

The story is so contrived and the dialogue so stilted that no amount of talent could save Exist.

A blast from the 1980s, when the idea that men were essentially rapists and women rapees was a popular way to score chicks on campus.

Any Christian movie dealing in miracles is likely to be too sweet for some but this one is gently moving rather than pushy about its religious elements.

School for Scoundrels teaches one important lesson: Avoid any thing carrying the banner of The Weinstein Co., which is to the multiplex what bagged spinach is to the produce aisle.

Has its heart in the right place -- and in a season filled with somber or goopy Oscar contenders, it makes a perfectly decent date movie.

Worthwhile mainly because of "Inside Out," a 28-minute autobiographical film written, directed and starring Jason Gould, who not-so-incidentally is Barbra Streisand's son.

Kalem's grasp of dramatic storytelling is no firmer, and the disorderly film merely chases its tail for the second half, going nowhere fast.

Self-indulgent folly.

There are two things that make the flawed Mapplethorpe worth a watch: Matt Smith’s dedicated performance, and a reverent inclusion of so much of the artist’s work.

Save your money and wait for the new 3-D version of the 1939 classic that Warner Bros. has promised for later this year.

Latifah, a formidable actress who's almost always better than her movies, easily dominates this hokey cross between "Glee'' and "Sister Act.''