Floats along on the strength of its writing and supporting cast.

It doesn’t really add up, either as a psychological portrait or moral commentary.

To watch Rifkin’s Festival and Allen’s previous film, A Rainy Day in New York (2019), is to wonder whether this is a filmmaker who has ceased to understand the world.

Manages to do the impossible: It makes Lopez bland.

Nostalgia for the groves of academe weighs heavily on Liberal Arts, which both exploits and undermines romanticized memories of campus life.

Smothers whatever merits it may have had in a rush of bells, whistles, bombast and smoke.

Some scenes are mild fun, but the mishaps that befall our hero aren't especially inventive, and although the South African setting provides a bit of interest, it's never really used incisively.

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

The sum is a comedy that starts out slow and talky, picks up speed - and sexiness, and hysterics - somewhere in the middle, then drags to a stop when everyone starts confessing their feeeelings.

For 70 minutes, Antichrist is a rare exploration of pain, featuring two actors collaborating with each other in agonizing and intimate ways. It also contains some of the best work Gainsbourg has ever done on screen. And then - if I put it more gently I wouldn't really be saying it - director Lars von Trier loses his mind.

Stylized dialogue tends to play awkwardly onscreen -- we're conditioned to naturalistic conversation in films -- and Waters, who makes his feature directing debut with The House of Yes, fails to create an emotional tone or attitude to match the characters' goofy repartee.

Is it a home run? No. But at this point, comic fans are just happy to see Fox play error-free ball with their Marvel adaptations, and Fantastic Four mostly qualifies.

Comes across as a cautionary tale.

But most every moment Ford is in on screen is a welcome one. Buck seems more real when in Ford’s presence.

Not a spectacular movie, but the action scenes are well shot, there's no shortage of R-rated gore and the plot moves along quickly enough to mask the fact that the whole endeavor is completely ridiculous.

It's a fact that becomes riotously evident in the reel of outtakes that caps the picture and incites wonder about why no one thought to give us 90 minutes of those instead.

Though I wish Please Give were a little better, there aren't enough American movies like it.

Highly entertaining, in a schadenfreude sense, but incomplete.

The picture is in the same sappy, soapy, maudlin vein as last year's ''Beaches,'' but I didn't hate it as much as ''Beaches,'' which might mean that everybody who loved ''Beaches'' will think Stella isn't quite as good. [2 Feb 1990, p.E1]

If only Streep would have put down the microphone and let Springfield sing “Jessie’s Girl,” Ricki and the Flash might have had half a chance.

A few things make The Adam Project a little better than bearable.

The Love Witch has an air of geeky satire. The presentational acting style is so self-aware you almost expect the cast to occasionally underline a joke by turning toward the camera and winking at the audience (no one does, though).

In this her third feature as a director, Jolie once again shows a marked talent for the visual aspects of storytelling. Her shot selection is impeccable and her compositions are artful without being self-consciousness.

As much as Machete Kills is a reunion and continued revival, it also represents a sort of gentrification of the exploitation genre. It's probably time to move on and let a new generation of kids take a crack at making bad films.

In the end, Chi-Raq is a positive movie that wants to jolt us into doing something about the very real emergency in Chicago. Along the way, the execution of the narrative gets muddled, but there’s no denying that this risk-taking film has a pulse. A strong pulse.

In special effects, Lucas has moved a galaxy beyond. In energy, not yet.

Stays emotionally mired because of a static screenplay that fails to express its issues dramatically.

A bit of a letdown. The manic comedian who has gained fans worldwide for his outrageous slapstick and special effects-driven antics in "Kung Fu Hustle" and "Shaolin Soccer" takes a backseat this time - and that's part of the problem: This is lesser Chow because there is less Chow.