Tonally, the film from director Anurag Basu has more personalities than Sybil. Basu strictly observes the B-movie convention of giving the audience an embrace, explosion, or chase sequence at regular intervals. If you don't like the genre, wait three minutes.

As a director, Poitier hasn't come up with any startingly new twists on the old Western cliches. [11 May 1972, p.14]

There's no doubt that the formula for this kind of action film is showing its age.

Rock Star sinks into a morass of melodrama.

Most of it plays like Jackass.

Full of macho swagger and unabashed hero-worship.

A twisty, turny and ultimately silly thriller from "Inside Man's" Russell Gewirtz.

A creepy, oozy, dopey remake of the stylish 1998 Japanese thriller, "Ringu."

The plot is preposterous. Particularly the part about a kid who has never before played an instrument, but can pick up a guitar and play like Eric Clapton and belly up to a church organ and perform like Mozart.

A woefully thin and pointless musical comedy boasting the no-chemistry coupling of Cuba Gooding Jr. and Beyonc?

War is hell, war is cruelty, war is toil and trouble, war is just a shot away. But is war a snooze? Well, by the time Enemy at the Gates has run its course — it sure seems that way.

An uneven, perpetually redundant comedy-drama.

An epic work of self-indulgence and smug riffing, stringing together tropes from TV and screen westerns and closed-room whodunits, The Hateful Eight announces itself with all the pomp and circumstance of a mid-century cinema spectacle.

Tumbledown comes up light in the categories that matter most, miring a capable cast in a forced cable-knit folksiness familiar to anyone who has ever watched anything set in New England.

An uninspired computer-animated feature that may satisfy undiscriminating pipsqueaks and nearly no one else, Planet 51 is a low-IQ E.T. in reverse.

A worthy subject is poorly executed.

Fuzzy, feel-good movie about baseball, babes and believing in yourself.

Willis is always on target, but Last Man Standing is an aimless excuse for the kind of action at which Hill undeniably excels. [20 Sep 1996, p.03]

Promised Land is a frustrating film to watch. It should be better than this, smarter than this.

Full of clunky humor, battle-of-the-sexes musings and spicy accordion music, Everybody Wants to Be Italian is relentless - but not necessarily relentless fun.

Basic Instinct's characters lack psychology and therefore motive. Admittedly they possess pathology, but that's not enough to maintain suspense in a movie with plot holes big enough to drive a tank through.

By turns entertaining and excruciating.

Only in its aggressively imaginative profanity is the film consistent.

Not even Chan's imaginative fight choreography redeems this folly.

If only I liked The Majestic half as much as I liked Carrey in it.

However insulting the script is to the formidable talents of Clayburgh and Tambor, they turn in Shinola performances.

My advice: Skip Beyond Borders and write a check to the Red Cross or Doctors Without Borders.

Spectacularly silly and perversely entertaining.