It's a respectable B- movie -- airy, inconsequential and a little too cute at times, but fairly entertaining all the same.

Consenting Adults is well-made, preposterous junk -- the kind of modestly effective thriller that delivers a modicum of thrills but insults its audience, over and over, to achieve that effect. [16 Oct 1992, p.C1]

The laughs do come, but not as readily, not as heartily and not as joyfully as you might expect.

Many scenes in Outrage are crisply filmed and stylish enough, as serial assassinations go. But the film doesn't add up to much.

An overwrought and ultimately silly thriller.

It is so narrowly focused on neurotic obsessions that the quest for finding that fundamental nature of ultimate reality is sidetracked. What kind of approach is that for a Buddhist? Ferrara takes the easy way out.

There are “gotcha” jolts that definitely got me, but for each of those, there must be a half-dozen scares telegraphed in very large letters. I think Annabelle: Creation is suffering from sequelitis.

Harrelson and Olson make a good pair. He’s genial and bewildered and expects the best, while she’s guarded and clear-eyed and expects the worst. They deserve a better movie, but they make Champions more than bearable.

Beat Takeshi fans wouldn't think of missing this one. Moviegoers who hate violence wouldn't be caught dead at it.

A noble try that disappoints.

Though the Jill problem is too insurmountable to ignore, almost everything else in this comedy succeeds.

So quick that the flat moments are rapidly, inevitably chased by a new gag.

The lushly photographed film skids into the gutter. It may have a certain appeal to people who like to talk mean to each other, but beyond that, it's one stupid rubber ducky. [13 Dec 1991, p.F1]

Will satisfy its young fan base and is bound to make a ton of money. At this point, though, the series is no longer an artistic pursuit; it's a business deal.

There are people who like movies like this, who like when a movie screen looks like their computer screen and who don’t mind when everything is fake, including the emotions. Artemis Fowl is a genre movie, and as such, it’s an OK version of the thing it is. I just can’t stand the thing it is.

Almost everything that made "The Bourne Identity" refreshing -- the wit, the irony, the suspense, the novelty of its premise -- is gone in The Bourne Supremacy, and what's left is the spectacle of Matt Damon, with perfect posture and senses primed like a cat, making his way through a routine action thriller.

Fortunately, some of the people around Cameron turn out to be more interesting. The best in show is John Gallagher Jr., who brings out both the creepy and comforting sides of “ex-gay” instructor Rick — a seemingly nice guy who’s oblivious to the harm that he’s inflicting on his charges.

A serious weakness for corn isn't Marshall's only problem. She's got a gift for comedy and she brings out the best in many actors, but she's juggling too many elements here -- baseball, a huge cast, a 1940s milieu -- and never finds a consistently satisfying tone or rhythm. [1 July 1992, p.E1]

It serves up a broad humanistic lesson with absurdism and black comedy more sad than barbed.

The glossy ensemble cast is consistently interesting.

It seems naive, almost delusional.

Never takes off, but it never collapses. At times, it becomes frustrating -- for example, about 30 minutes are spent pursuing a lead that goes nowhere.

If only Lars von Trier took into account that audiences might actually want to enjoy Melancholia, rather than endure it, or sift through it, or submit to the director's will, he might have made something extraordinary.

Call it a victory of conviction over substance, but when Argento is onscreen, you look at her - not because she's good, but because she's there in a way nobody else is.

Greg Berlanti’s movie about a teenager’s coming out is nothing if not sincere. More to the point, it’s not very much except sincere.

Unfortunately, for those who do not subscribe to the notion that God's dust smooths a marriage's rough patches, but rather hard work by people do, the message rings hollow.

Perhaps most of the humor just doesn’t translate (the film was a smash hit in Sweden). Whatever the case, the script needed to mine more comedy from the characters, not the clownish plot machinations.

It starts out with several seemingly separate stories and characters, allows them to tease, overlap and shade one another, and then weaves them into one rich fabric. It's an allegory about American life -- a tough, cynical meditation on race, crime and the futility of human endeavor.