Its urban devastation knows no peer. Robots smash into each other with steely ferocity, and the humans - well, they do a fine job providing comic relief.

Mortal Kombat the movie has everything a teenage boy could want: snakes that jut out of a villain's palms, acrobatic kung- fu fighting and a couple of battling babes. Everything, that is, but an interesting plot, decent dialogue and compelling acting

Sniper is the Tom Berenger film that'll be forgotten by this time next week. [30 Jan 1993, p.C3]

Patrik Age 1.5 has a single drawback that can't be overlooked, at least from the standpoint of an American viewer. It's predictable.

The result is a mishmash that is sometimes moving, sometimes absurd and most of the time just oddly off balance.

It’s innovative and exhilarating at times, and then innovative and oppressive and relentless and repetitive and tiresome, but it’s never exactly boring. People will walk out of Climax, not for lack of interest, but for lack of endurance.

That story proves paper thin, and requires believing Amanda is devoid of empathy yet devoted to Lily — concepts too at odds to be plausible together.

The film tastefully yet unenergetically chugs along.

Narrated by Lomborg, the movie uses lecture excerpts, clips of terrified schoolchildren and interviews with (mostly) like-minded scientists to get his points across.

Long before the finish, Possessor descends into ugliness, with grotesque scenes of violence and lots of blood. You may feel creeped out, like you want to take a bath. But no, not in a good way.

The film raises an intriguing issue not generally addressed by science-fiction films: time traveling into the past while white is one thing; time traveling while Black is something else entirely.

The “Happy Death Day” franchise isn’t going to revolutionize filmmaking. But the uplifting vibes — and occasionally absent slasher — haven’t come close to overstaying their welcome.

Isn't quite as boring as it sounds, thanks to writer/director Steve Conrad's strong script and decent performances by John C. Reilly and Seann William Scott.

The film is stylishly shot, although the current action-movie look might be dated in a few years.

But the jury is still out on Romano's future in movies. Hackman blows him off the screen.

It's not just that Pitt's performance is bad. It hurts.

Essentially, “I.S.S.” is a fine movie for what it is, and the only reservation is what it is. It’s a cramped-space movie in which the stakes feel higher to the characters than they do for us.

While still trumpeting human ingenuity, the new movie lacks the subtlety, character development and exceptional ensemble acting of the 1965 version.

For quite of few of The Whole Nine Yards, it appears that the most clever thing in the movie is going to be the opening credits, monstrous close-ups of the morning toothbrushing routine.

It's a weighty and visually interesting movie that unfortunately doesn't have a strong message beyond its overwhelming bleakness.

It is wonderful to see how Sheedy gives shape to this performance -- her eyes, a photographer's eyes, carefully sizing everything up. [18 June 1998, Daily Notebook, p.E1]

There's nothing new here about the conflict, but the film portrays the two sides fairly - both right, both wrong. Overall, The Attack is thought-provoking, even if it doesn't address how to solve the problem. We'll probably never know the answer in our lifetime.

Its weaknesses are clumsy plotting and a less-than-satisfying ending.

It's funny in spots if you can tune out the Farrellys' ultra-crass jokes - along with any memory of the first movie.

This film is too scary for very young children, while older fans are likely to focus on the film not faring well in comparison to the elder Miyazaki's recent work.

Surprisingly pedestrian.

Well-scripted, well-acted and occasionally sexy, but just isn't all that interesting.

It's a far better thing to remember Extremely Loud and Incredibly Close than to watch it. Looking back, much of what is irritating, precious and tiresome about the movie recedes and drops away, while all the movie's virtues, which are considerable, rise to consciousness. There are good things here - just be prepared to blast for them.