Plays like a war movie made in a time of war: too careful, too programmatic.

It's big, perfectly cast and entertaining in every way, but more than that it feels like a generous public event.

The film is a plodding 2 ½ hours long, with an abundance of livestock gore, endless dental trauma and a violent sex scene.

The film is morbid and mawkish, and packed with enough forced whimsy to make you scream.

This is a superior and assured action movie, a quality product that makes the case for a franchise.

Despite highly enjoyable moments and the welcome presence of Kate Winslet, even sympathetic viewers will be put off by the movie’s bewildering variety of genres and tones.

There should be drama here, but everything falls as flat as the withered valley floor. Not all is lost: The cinematography and special effects are quite competent. The script just leaves us thirsty for more.

Takes viewers into a unique world. It's not just about air traffic controllers. It's about controllers in a specific place and from a specific social background.

The mix of comedy and drama is winning; Costner couldn't be better, and the little girl is a find.

An annoying little film that attempts to be lascivious but is merely ludicrous.

The only thing to take from the wreckage of “Lisa Frankenstein” is the performance of Soberano, in her Hollywood debut. She finds comedy in a weak script and radiates goodness without being boring. Let’s hope she has better movies in her future.

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.

The only thing that keeps Wish afloat is DeBose’s voice, who elevates so-so songs such as “At All Costs” and “This Wish” with a powerful lilt.

Eddie Murphy's latest picture, Coming to America, is a harmless, fairly amusing comedy that will delight Eddie Murphy fans and keep everyone else mildly entertained. [30 Jun 1988, p.E1]

The film takes a bold, intelligent approach to the explorer's story, providing scenes and images that are not to be forgotten. Then, midway into its journey, the movie sails right off the edge of the universe. [09 Oct 1992, p.C1]

Lust on the Grand Prix circuit. [30 Sep 2007, p.N34]

High-gloss trash but compulsively watchable.

Quickly assumes an appealing mockumentary style.

It's hardly possible to overstate what a welcome change of pace The Shipping News is for admirers of Kevin Spacey.

The laughs come in all the wrong places when they come at all.

A pleasant myth.

Damning.

The film doesn't always work, but it captures the buzz of moviemaking, and that's infectious.

Seizes on a primal fear and flogs it for two hours.

Disjointed.

Considering the talent on both sides of the camera and a story that worked beautifully the first time around, Shall We Dance? should have been a lot better than OK.

Filmgoers looking for copious amounts of mindless violence won't be disappointed.

Entertainment value and reasonable length still make the film a decent, low-effort option for home viewers — especially those already subscribed to Hulu.