Director Le-Van Kiet and screenwriters Ben Lustig and Jake Thornton succeed by making the action look real, by coming up with intriguing plot twists and keeping our heroine in danger at all times.

The movie is not as good as his recent low-budget effort, "Diary of the Dead," but there are enough moments of satire and coolness - two Romero hallmarks - to merit recommendation.

Larger Than Life isn't as bad as it sounds, mostly because Murray is so likable and fundamentally incapable of not being funny.

A movie whose main virtue was its honesty ultimately lands in a place that feels canned and unsatisfying. But on the way there, Backwards isn't so bad.

Despite the paint-by-numbers nature of its plot construction potentially working against audience engagement, the film moves along briskly, benefiting from strong performances virtually across the board.

Hunter Killer seems old-fashioned. It belongs to a genre that was pretty much exhausted before the Cold War was over. And it threatens us with a world that, from the standpoint of 2018, doesn’t look all that bad. The movie is overlong, at times confusing, and it’s self-important, with a soundtrack that keeps telling us we feel things that we don’t.

By turns frightening, exciting and ridiculous, San Andreas is, in the end, more impressive than anything else.

An earnest film, a well-acted film and, despite the presence of a star director, a generous film. As a director, McGregor is good to his co-stars and highlights them throughout. But the energy drops out of the last third of the picture, and takes with it much of its aura of importance.

Rough around the edges, but once you get used to the laconic pace, the plot grooves along nicely.

Not a mediocre film. It is, by turns, a great and awful film.

The remake is a solidly crafted movie with a lot of good scares, but it also raises the question: Why even bother with an update?

Yes, it's got painful and funny moments, but by the time it's all over, I was worn out coping with all Dad's manifold transformations. [28 Oct 1989, p.C3]

It's an amazing actor who can carry a movie by simply sitting calmly in a chair. That's what Christopher Walken does in the comedy-thriller Suicide Kings. He's so good, one hardly blinks.

Thank God for James Gandolfini.

The film's overall construction is faulty. Its dramatic situations ring consistently false, and the story is phony as anything off the Hollywood assembly line. And yet, it's sincere phony.

Robin Williams and Billy Crystal, teaming for the first time on the big screen, are moderately fun but suffer from what looks like a case of too-calculated Hollywood packaging.

This disappointing new film from director Michael Winterbottom ("24 Hour Party People") suffers from a similar malaise: It's poetic and pretty, strives for profundity without attaining it, and finally ends up saying nothing.

Even viewers who are an easy touch for romance movies will find this heavy-handed.

Just funny enough.

Unfortunately, there’s a gulf between a great idea and competent execution, and this first feature, from writer-directors Gerard Bush and Christopher Renz, can’t bridge it.

A delightful French comedy.

A conspiracy tale of high-tech chicanery, Chain Reaction has better acting, better writing, more spectacular chase sequences and more genuine drama than all of this summer's blockbusters. It's also got Morgan Freeman, as good an actor as we have today, which easily qualifies it as the one action film you should see this summer if you see no other.

Foy is anything but mysterious or feral. Rooney Mara and Noomi Rapace, who previously played this role, seemed appropriately weird, but weird depends on hiding something, and Foy hides nothing.

It's a well-meaning but ultimately feeble and misguided attempt to say something profound about the aftereffects of the 2001 attacks on New York.

As good as family entertainment gets.

The saddest thing about Maleficent: Mistress of Evil is that it’s not bad, but typical, that this emptiness — this immersion in mass numbification — is the modern style.

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.

At all times, the audience believes that it's watching something that really could happen.