Diego also lacks any nuance as a character. He is grim and humorless, like most everything else about this film.

Elusive and compelling.

Wry and sometime bitter movie about love.

The freshest thing about Breakin' All the Rules is its dropped "g.''

Mostly it seems forced, pat and didactic.

Jaw-droppingly awful.

The movie's shockingly tasteless setup is also its secret weapon. Despite many scenes in The Ringer that could individually be viewed as politically incorrect, audiences will be laughing with the athletes most of the time.

The Sorcerer's Apprentice boils down to "The Karate Kid" meets "Harry Potter," with maybe a dash of "Ghostbusters" to keep it interesting.

Yes, there are funny lines, but nearly all of them are familiar to fans; it’s almost like a greatest hits of “Addams Family” quotables.

In concept alone, Ravenous is anything but appetizing, but in execution it's worse than you'd imagine.

The laughs, including the big laughs, keep coming right up to the closing seconds.

It sounds promising, but it doesn't work. You get the feeling that Soderbergh, so early in his directing career, has exceeded his reach -- that the com- plicated logistics of making a film on location in eastern Europe, compounded with the challenge of bringing to life such a fundamentally lonely and passive figure, had stymied him. [17 Jan. 1992, p.D1]

This movie could really use an Avon Barksdale, but even actor Wood Harris, who played drug kingpin Barksdale in "The Wire," seems a bit lost.

It's just off, odd and joyless.

Rebecca has a couple of slow stretches, but James is always interesting and always sympathetic, if only because we see her struggling to do her best. After all, it’s much easier to not give up on a character when we see she hasn’t given up on herself. The movie further benefits from the absence of 1940s-style censorship, which suppressed a key plot detail that’s restored here.

It’s low-key in tone and not a splatter fest, even remotely. You Should Have Left is horror for a thinking audience.

The tone of “The Exorcism” is deadly serious, but one wonders if the premise might have worked better as a scary comedy rather than as a scary drama.

Has genuine life in it. It's an energetic comedy that consistently looks for and finds unexpected ways to be funny. [31 Mar 1995, p.C8]

The film is obvious, weak and scattered and seems more like a practical joke than a work of genuine passion. It is without exaggeration one of the most blindingly boring films I've seen in years.

Although the picture's title and promotion might lead you to expect another "Wayne's World," Airheads is something more substantial. It's a spoof of heavy-metal culture that at the same time respects the vitality and pent-up passion behind it.

Book Club was, at best, a pleasant diversion. But Book Club: The Next Chapter is something more. It’s a movie that proves that it’s possible to make an entertaining, full-length picture with practically no story.

Want a believable plot or acting? Forget it. But if you just want knockout images, unabashed eye candy and a riveting look at a complex world that seems both real and fake at the same time, "Hackers'' is one of the most intriguing movies of the year.

A teasy, cogent and funny noir spoof of dime novels and 1960s Hollywood.

Reminiscence is never not interesting, but Joy leaves a lot of the intriguing issues unsatisfactorily explored.

A bigger mess than the gas crisis.

About as close to pure mall fodder as you'll see.

Sin City: A Dame to Kill For is still a visual buffet, but adding 102 more minutes of double crosses, slow torture and hookers with hearts of gold just exposes the tediousness of the exercise.

The Comedy, one of the most self-indulgent, pretentious and unfunny movies of the year, is a mean-spirited piece of mumblecore that tries to provoke you, but only succeeds in boring you.