This novelty film is little more than a strung-together product reel of animation pieces put to the 3-D and IMAX test.

Even at 82 minutes, Stoked gets repetitious, with too much time spent on the rise and not enough on the fall.

Once the believability drops, the seams start to show, whether it’s some extras who seem aware of the camera, bad edits, comic-timing misfires or songs written for Thorne that aren’t quite as good as everyone onscreen says they are.

Before it degenerates into a complete mess, it's an entertaining mess, and something about its willingness to please maintains the audience's goodwill throughout.

A good-hearted 'tween comedy hampered by uneven direction and a misguided plot twist.

Has the strengths and weaknesses of a one-man show.

If Idlewild had something beyond OutKast's songwriting, it would make a swell musical.

As a movie, Escape From Tomorrow is at best pretty good, but the way it was made makes it something unique, possibly memorable.

It's mostly entertaining, and has some strong moments, but it lacks the special magic that a musical needs, that sense of its inhabiting a parallel universe where any wonderful thing can happen at any moment, including music suddenly arising from nowhere. [10 Apr 1992]

Had a chance to be not just OK, not just fluff, but something special, and it's a shame that the people making it either didn't realize it or didn't have the guts to take this movie where it wanted to go.

Self-consciously bleak.

The Gray Man gets better as it goes along, and it contains a couple of action sequences that are as imaginative and well-crafted as any that you’ll see all year. So don’t dismiss it. Netflix it.

An occasionally powerful, yet occasionally frustrating documentary.

This is a film that keeps it simple: Don’t cross a mother, or she’ll hunt you down.

Although it has its merits, Operation Finale — which recounts the 1960 extraction of Adolf Eichmann from Argentina and his delivery to Jerusalem to stand trial — fails to measure up to the deep historical impact of the events it depicts.

Ellis’ story could have used a little fleshing out, no pun intended. Instead, a terrific cast is left floundering in the dark, searching for the film’s human dimension. Cursed, indeed.

As a cop movie it's entertaining enough, but as a social commentary it comes up short, becoming self-conscious and preachy. [27 Apr 1990, p.E1]

Disjointed.

Delpy and Scott are able to put it over. She's French and deep and mysterious. He's a fresh-faced American, an open book. Liking them makes it possible to (kinda) like this otherwise routine horror movie.

This Hellboy has story problems, with too much exposition and not enough character development. “Stranger Things” actor David Harbour, seemingly a perfect choice for his ability to project melancholy and a luggish humor, isn’t given enough time to do either of those things.

Poorly written, contains too much hero worship and profiles too many events - including one that combines the high jump with motorcycles. But the documentary generates a remarkable amount of goodwill with its stunning visuals, which look breathtaking in 3-D.

There is simply too much going on, in these separate storylines, for too long. There is a literal “meanwhile, back at the farm” quality to the movie, because it becomes so involved with subplots that you only remember Max and Rooster at the farm when the action shifts back to it.

A romantic saga that dares to ask realistic questions.

Though the movie is riddled with memorable scenes of violence, its pace is slow -- too slow. It has an epic sprawl, but it's not an epic. It's more like a bloated fairy tale. [7 Aug 1992]

Although the finished product isn't great, it's more akin to a bad Steve Martin movie from the 1980s than bad Pauly Shore from the 1990s. We mean that as a compliment (sort of).

Legends of the Fall is so gorgeous that its failure to catch fire seems a piddling concern.

A thoughtful but uneven teen picture, also has too much going on.

Kung Fu Panda 3 has a moment or two for everyone, but no chance develop any character beyond a single dimension.