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

Although it holds some of the same contrivances as the original, Hulu’s new remake also maintains tension and features a masterful performance, this time by Mary Elizabeth Winstead as the mother.

Eternals is like a movie about a horse race that concentrates all its attention on characters that neither own a horse nor like to gamble.

This flick is a summer diversion, pure and simple, so don’t expect a deep message.

So The United States vs. Billie Holiday is a misfire, and what a shame, because Andra Day had it in her to be great in this. The movie just didn’t let her bring it out.

If The Next Three Days were just a little more mindless, it might have been more joyful.

The few bright moments in Housesitter are supplied by Martin, who works himself into a sweat trying to make this movie work -- he even squeezes laughs out of a wedding reception scene, when he warbles an Irish melody to his dad -- and by Moffat and Harris, who give their Norman Rockwell stick figures a bumbling, simple charm. [12 June 1992, p.D1]

It's a ho-hum-er, almost a complete bummer. [6 Jan 1989, Daily Datebook, p.E1]

G20 is standard-issue improbable action that’s lifted by EGOT (Emmy, Grammy, Oscar, Tony) award winner Davis, who makes everything better, and the Mexican-born Riggen’s direction.

Abigail Breslin (“Little Miss Sunshine”) plays the infected daughter. Her performance seems unsettled at first, but it doesn’t take long for Breslin to sink into Maggie’s (rotting) skin, aided by some fine makeup work. Her most effective moments come when the teen faces the inescapability of her death.

Fabrice Luchini is one of the delights of world cinema, and in The Women on the 6th Floor he finds a role ideally suited to his odd mix of fussiness and sensitivity.

The first half of My Worst Nightmare contains some of the best comedy and the biggest laughs of the season, and the second half ... eh.

If studios insist on remaking classic horror films, this is definitely the way to do it.

The by-the-numbers film is not hard to sit through and won’t offend anybody, but its lofty, worthwhile message doesn’t feel earned.

One doesn’t expect that kind of intensity in a sedate British murder mystery, but Pfeiffer brings it. On her own, she helps Branagh make the case for his remake over the original.

Has a lighter spirit than its predecessor, but it arrives at the same warm and touching place.

A wonderful movie, sincere and inspired, with four terrific performances and a story that doesn't let up. The picture has the gentle, nourishing quality of a fairy tale that you want to believe, and the unsoftened impact of gut-level entertainment. [13 July 1990, Daily Datebook, p.E1]

Although the script takes some unfortunate shortcuts, “Eleanor the Great” is a moving study of grief, loneliness and aging. But each of the main characters has something missing in their lives, a hole to fill inside of them, and Johansson gives her actors the space to explore.

A passable follow-up - more ludicrous, less taut, still creepy - that picks up exactly where the original left off.

An ill-conceived comedy.

Huppert shows everything to us, and it's fascinating.

An intelligent literary mystery story that holds interest and is intermittently affecting, but it never soars.

The strained romantic plot is a slow fizzle.

Not a routine cut-and-paste horror but a full-fledged revenge fantasy -- and a completely satisfying one.

Competent but uninspired thriller.

Serendipity is a throwback to a more innocent era in American life, 25 days ago.

Jumbled and stupid plot, bad acting and a few predictable gags that fall flat.

The spectacular scenery and compelling message counterbalance the somewhat plodding pace and wooden performances.