There are a few sensitive scenes, but it’s the big blasts of raunchy that deliver its laughs.

Too cute, too star-studded and entirely too long.

The story is kind of all over the place, scatterbrained without being madcap (This one feels tinkered with, reshoots, re-edits.).

Connery doesn't have many scenes, and he does manage to keep his dignity while he is on the screen. That's more than I can say for a lot of the actors in this movie. [09 Sep 1994]

Compared to Ghost Dad and Teenage Mutant Ninja Turtles, Jetsons: The Movie is eminently orbital. [6 July 1990, p.6]

Like many other Disney-produced movies, this one requires you to give yourself up to the fantastic elements of the story in order to enjoy it fully. If you dwell on the improbabilities, you'll miss the good parts. [09 Oct 1992, p.22]

A flipped take on tween-to-teen romance that make it such a minor gem.

The folks who made The 'burbs appear to be card-carrying members of the School of Non-Urban Humor. Basic to the philosophy of this school is the misapprehension that anything occurring outside city limits is intrinsically amusing.

To her credit, Spheeris elicits winning performances from most of the kids. [05 Aug 1994, p.6]

An exploitation picture built on redneck cliches and big city liberal outrage, it's not all bad. But it is a pretty unpleasant wallow in the obvious.

The performers are given stock types to play, and Elba and Dillon, at least, can do a little with that.

Less mopey and downbeat than TV star Zach Braff's "Garden State." But it succeeds in many of the same sweet ways and is similar enough to warrant labeling Radnor "Zach Braff: The Next Generation."

Extraordinary Measures isn’t extraordinary. It’s simply safe.

As straight exploitation, it's amusing, in fits and starts. It's just that Colombiana lacks the kinetic energy of "The Transporter" and the pathos of "La Femme Nikita."

At long last, The Twilight Saga sinks utterly into camp with Breaking Dawn: Part 1.

Stuffed to the gills with Perry's mix of the sacred and the silly and a serious dose of self-help for the self-absorbed.

Repetitious, tedious, and pretty much joyless.

It's the same movie as the earlier "gotta dance" over-choreographed crunk-and-breakdance epics. Exactly the same.

A rude and seriously crude riff on taking a vacation from marriage.

If the new film is considerably less imaginative than your average Punch-and-Judy show, it is, nevertheless, a step up from last year's turtle-fest.

This may be the most truly disturbing movie to come along since Lynch's Blue Velvet of 1986...But for those who are willing to go the distance with Lynch, the return trip to Twin Peaks is well worth the trouble. [31 Aug 1992]

No one looks particularly comfortable, not even Midler, who has most of the best dialogue. She's watchable as Stella, but that's really the nicest thing I can say for her work in this unfortunate picture. Does Bette Midler really believe that people of limited means can't raise their kids decently? Or is the Divine Miss M making some great joke whose subtle point I am failing to grasp?

A little like modern country music - odd moments of sincerity, heart and authenticity peek through the plastic, the hype and the manufactured hokum.

The Expendables feels, well -- disposable, a movie whose nostalgia isn't enough to make this 50. caliber trip down Memory Lane worth the fake napalm.

A genre mash-up that never quite achieves "So very bad it's good" status.

The whole movie, in fact, is one big blooper.

A simple equation, perhaps, but when it comes to comedy, simpler is frequently funnier. This formula has already worked beautifully in France, where the movie has broken all box-office records and has won three Cesars (the French equivalent of the Oscar) including one for best picture.

Excellent flick. [22 Feb 1991, p.13]