Brought to the screen with a mix of jaunty humor and jagged violence that should have worked more effectively than it does.

Echoing the lessons learned from "HAL in 2001: A Space Odyssey," the message of Transcendence is that computers should not be allowed to become sentient.

Trade comes off like TV-movie sensationalism, sidetracked by distracting backstories and hard-to-swallow plot twists.

The Internship itself would be kind of charming, too, if this Google-recruitment film, this 119-minute commercial for Googliness, weren't so downright creepy.

The more movie magic Howard piles on, the less we care. And, boy, does he pull out all the stops, stocking the pic with a tub of red herrings, half a dozen plot twists, and more complex set pieces than a comic-book flick. I felt relieved when it was finally over.

How'd this thing get made?

Warrior has the underwritten, overproduced bluster of "Conan the Barbarian."

Two Weeks Notice is a lot like Trump's tonsorial tower: improbable and overteased.

Has to be the sorriest excuse for a reprise since "Highlander — The Final Dimension."

The movie devolves into a kind of high-tech Flash Gordon, with Ra as a cross- dressed Ming and Russell and Spader as the heroes required to chase big lugs with ray-guns around the inside of a pyramid. Things get pretty brainless before it's over, although Russell does get to deliver a great send-off line. [28 Oct 1994, p.5]

Taylor Hackford directs crisply, unpretentiously. Patti LuPone goes Latina, playing Lopez's soap opera-addicted mom, and Bobby Cannavale is a Palm Beach cop with an eye for Leslie. The action is fast and furious.

Love conquers all. Sadly, Yoo's film does not.

The miscast (or misdirected) Hilary Swank's Jeanne takes so little pleasure in coquetry and manipulation.

I'll be darned if I can think of a more excruciating, ponderous, remarkably unfunny and inert cinemagoing experience to come down the pike in ages.

Only Close, in a majestically, maniacally brittle demonstration of Stepford overdrive, has the courage to show how nutty the pursuit of domestic perfection is. In this mess of a film, she is perfection.

I should put in for worker’s comp for the extensive injuries I sustained watching the insulting, abysmal 3-D action thriller xXx: Return of Xander Cage, which left me deeply traumatized and suffering from injuries to my eardrums, my eyes, my mind, my soul, my aesthetic sensibility, and my sense of decency.

From the street corner to the boardroom to the White House, the same paradigms are in play, Brown argues.

Nothing wrong about a movie that says, Stop and smell the roses. Now, if only director Rob Reiner hadn't rubbed our noses in a bouquet of plastic blooms.

The Family is a film at once strange and intriguing. It can't seem to settle on a tone. The early eruptions of violence are treated as slapstick when they are most assuredly not. But the climactic showdown, which fairly cries out for a touch of humor, is played as a tense and grim action sequence.

Freely mixing reality therapy, fairy tale and satire, Dobkin's film does not maintain a consistent tone. Is it a seriocomedy about brothers who need to work on unfinished business? Is it a holiday fable about a Scrooge who comes to surf the yuletide? Is it a satire in which an efficiency expert (Kevin Spacey) puts pressure on St. Nick to outsource gift allocation and distribution?

Morel and his crew certainly know how to stage action: the fight scenes and shootouts, the stairwell pursuits and motorway mayhem, are as good, if not better, than anything to come out of Hong Kong in a long time.

The overwhelming sci-fi action spectacle is a merciless sensorial assault that leaves you with something akin to post-traumatic stress disorder.

A sentimental kidfilm that only a parent could love. [22 Aug 1997, p.04]

There's nothing in Jungle 2 Jungle that hasn't been treated with more flair and imagination in dozens of other movies. [07 Mar 1997, p.03]

The writer-director has the talent to dig deep and lay bare the assumptions behind our idea of justice and our notions of right and wrong. In The Devil's Knot, he settles for an encyclopedic, if skin-deep, presentation.

The $40,000 budget of The Blair Witch Project wouldn't cover a day's limousine bill for a production like The Haunting, but if you want a genuine chill on a hot summer night, that - not this - is the horror movie for you. [23 July 1999, p.03]

A very sweet, very slight family movie that scores smiles and tears of joy.

A thriller is only as good as its villain is bad, and this is the film's problem.