There's a spark missing, and where it's missing is in Roberts' conscientious but all too reserved performance.

It's hard to deny that the first two-thirds of G.I. Joe is an enjoyable film, especially when graded on the curve of lowered expectations. Compared to other big-budget movies out this summer, it's pretty mediocre.

Halloween Ends is far from a great finale, but it’s a decent showcase for Jamie Lee Curtis, whose place in film history has long been assured because of this role. Will this be the last we see of Laurie Strode, or the “Halloween” storyline? It’s best to wait for the box-office reports. After all, franchises never die — they just change shape.

It demonstrates a filmmaker in complete command of his craft and with little control over his impulses.

Director Nadia Tass is an Australian film maker making her U.S. debut, and she does a good job of handling the male bonding. But, this becomes a road movie with too much rambling. [09 Aug 1991, p.F1]

All over this movie there are cliches that are just plain embarrassing, and unsettling moments in which it's obvious Kloves is writing about stuff he doesn't know a thing about. [13 Oct 1989, p.E1]

About a third of it is a brilliant setup - but it's for a joke that never happens, at least not completely. A comedy, especially a broad sex comedy, needs to go to extremes. But Sex Tape is a little careful and contained.

The mind-numbingly predictable, but admittedly watchable Hello I Must Be Going needed less whine and more surprise.

The result is more like an epic "After School Special" -- preachy, runny and oddly warm.

Jean-Claude Van Damme is the best part of every movie he's in. Then again, when you consider the pictures he's been in, maybe that's not saying enough. [15 Sep 1990, p.C3]

In this film, whenever Harper gets to do nothing but direct, as in the action scenes, Heart of Stone works. It’s in the convolutions of its flat script that the movie falls apart.

Pryce is very good, but Very Annie Mary is a bit too eager to please.

It’s long, downright dispiriting, enjoyable only sometimes, and yet there’s a feeling of authenticity. It’s neither bad nor good, but interesting. It might improve with age.

What looks good on paper contracts doesn't guarantee results. Stylized but spasmodic, this "Sweeney" seems more interested in distancing than captivating an audience.

The least appealing of the trilogy.

The action ramps up so much toward the end that there’s really no time to care whether it makes visual or logistical sense. It’s sustained, exciting and increasingly gory fun that’s a pleasure to get to after some of the film’s earlier, dour stretches. It’s sustained, exciting and increasingly gory fun that’s a pleasure to get to after some of the film’s earlier, dour stretches.

If there’s a casualty in the sequel it’s Bell, who may be the funniest of the young actresses, but has the most limiting character, forced to repeatedly work a single my-mom-is-a-stalker joke.

The movie was written by Scott Yagemann, who taught seven years in the Los Angeles public- school system, and you can feel the rancor and bitterness he still carries.

Just not worth revisiting, unless one wants to tie one's brain into a knot for no discernible reward.

Tully doesn’t expand as it goes along. It feels insulated and hermetically sealed, and it seems to get smaller.

You may experience Visitors as more of a sedative than a punch in the guts.

A squishy-soft romance set to bouncing Italian pop. It's like a long swallow from a bottle of a very sweet wine. Goes down easy, warms the gut, leaves a film of sugar on the teeth.

An occasionally rousing but mostly just adequate sequel to last year's "Planes."

Light and innocuous.

Almost as mindless as "Fantastic Four," but more annoying in that this one has philosophical pretensions.

Much of it is enjoyable and has the aura of a superior action film, but it collapses into a laughable wreck and ultimately reveals itself as a mild waste of two hours.

Marry Me is entirely Lopez’s movie, and she’s terrific, right there emotionally in some difficult scenes. But it’s too much Lopez’s movie — too many (lousy) songs, too many dance numbers. A half hour in, there’s no mistaking it: Lopez was one of the producers.

This is a film that wears its anti-tech bent like an old James Bond wristwatch.