No Escape is xenophobic claptrap of the highest order.

Makes good, unobtrusive use of its European locations, and has a couple of well-orchestrated urban chase scenes. But, even in these days of renewed U.S.-Russian tensions, its Cold War demeanor feels anachronistic, and its simple cynicism comes off as recycled and cheap.

An annoying, unclever, unlikable movie.

The larger question is not whether these two will wind up together, but rather, if the filmmakers wanted to make a teen movie, why didn't they use real teenagers?

This goopy dramedy is unfunny, mentally bankrupt and makes parenthood look like a terrifying death sentence.

It's trying to fill some perceived market void created by the end of "Harry Potter."

This is the sort of film that only makes sense as a rental, with, perhaps, a couple of friends and a very generously mixed pitcher of margaritas.

The dialogue is dippy. And there's no real suspense: The filmmakers are so deadly earnest about the power of music and love and all that stuff, you just twiddle your thumbs waiting for the inevitable.

Bening and Dillon both play roles they could act in their sleep, though it's still moderately fun to watch them do so.

The best thing about 2 Fast 2 Furious is Tyrese (terrific in Singleton's "Baby Boy"), whose charisma, looks and charm supply the picture with much-needed spark. It's too bad he's stuck in this spotty video game.

Its director, Rob Reiner, is 67 himself. So his film takes a less ageist tone, seeing its characters – played by Michael Douglas, 69, and Diane Keaton, 68 – not as old people but simply as people, living vital but complicated lives. If only the movie itself were as vital and complicated.

Not that Chan isn't lovable; he is. But he's making it harder to feel warm and fuzzy about him with films like The Medallion. It's OK to age, but Chan needs to broaden his horizons. He is a trained singer. Where's that musical he's always dreamed of making?

Maybe if the story weren't so ludicrous we'd care. Or maybe if the film just went overboard with its ludicrousness, we'd be entertained, but Don't Say a Word is merely boring.

It's pathetic.

I came away impressed at how Haggis made something original and real.

Spaced Invaders is a cute comedy-- cuter and funnier than you might expect. [02 May 1990, p.E07]

Some will win and some will lose their encounters with unbending American bureaucracy, but all deserve better, which should leave viewers eager for an even-handed take on this issue crossing over into disappointment.

Has a surprising number of problems: dire scripting, sloppy plotting and coffee-jittery editing, for starters. But its biggest problem is that Blade himself takes a back seat to a host of new and mostly uninteresting characters.

If you believe that, as one interviewee says, "Science is just another story," then these ideas may ring true. If you're looking for actual solutions to global problems, rather than ways to feel better about them, I Am will be a frustrating experience.

Though it's debatable whether Sandler is squandered or just supremely annoying here, the film's flaws aren't entirely his fault.

Dissects the dicey question of fidelity with all the finesse of a Veg-O-Matic and leaves us with something closer to chopped liver than broken hearts.

Kassovitz can't control the ridiculous script and messy tone. And though it's not exactly hard to watch Berry run around in a hospital robe (Cruz and Berry: That's one good-looking mental ward), it's not particularly profound.

A story that would be charming if recited at the dinner table tries to carry a feature film, and it's not even close to the task. The result is screamingly bad.

A nitwit story about a nitwit author who has written a nitwit novel about a nitwit author who has published a nitwit novel which, in fact, he has stolen wholecloth from another writer whose personal behavior, as fictionalized in the novel-within-the-novel-within-the-film, can charitably be described as...nitwit.

While you may like comedies and you make like thrillers, this film does neither of the above with any pizazz.

Better luck trying to find out what truly happened to the real Earhart than trying to diagnose all that's wrong with this hapless film.

In Be Cool, a wonderful cast essays a lively script and manages to make a decent film out of it.

It's the sort of movie that would have starred Valerie Bertinelli or Kristy McNichol back in the 1980s, tricked out with PG-13 grittiness and religious wholesomeness. It's the sort of story that ignores unpleasant social implications in favor of programmed sentiment.