Snake Eyes collapses in a crosscurrent of conflicting character motives, joyless plot twists and who-cares violence.

The Circle is very much a plea for the preservation and sanctification of privacy, but it’s nicely constructed in that no one character expresses the film’s distinct point of view.

Unoriginal, except in the ways that it’s bad.

His (George Clooney) rugged good looks spell movie star, but his body language spells Don Knotts, without the wit.

Kind of a bore.

A creditable genre entry, the rare action movie with a discernible story, an assured pace and a charismatic central character. It falls apart in the end.

So fascinating and has so many implications that it balances out some real flaws in the story.

It's fun, it's kind of somber and it succeeds in making you think about how you might be squandering middle age.

Offers enough glossy good cheer to appeal to everyone.

It's the worst Carrey movie yet, but it has a handful of inspired moments in which his signature wackiness is so funny it hurts.

The Art of Racing in the Rain, a sure-handed but predictable adaptation of Garth Stein’s best-selling 2008 novel, is a sloppy wet-kiss of a movie that demands nothing more from its viewer than to engage and empathize. Awww!

This is at its core a story that understands misguided aspirations. Yes, they’re ridiculous, but without them there’d never be movies like the ’90s “Anaconda” — and we wouldn’t have this “Anaconda” to enjoy.

Scooby-Doo, where are you? The real one, I mean. The rest of this mess is just a series of nonsensical action sequences.

The dolphins are charming, which is at least 50 percent of the concept of the film. The flip side is the film's predictability and shallow characters. Audiences may walk away feeling that they got a pleasant dose of cinematic Dramamine, but that it takes a long time and is a little tedious en route.

One of the most original thrillers of the 1980s. It's a lurid, twisted film that brings you into its world and completely works you over.

If Stanley Kubrick filmed an orgy like the one in this film, "Eyes Wide Shut" might have been halfway tolerable.

A lumpy concoction.

Too many moments elicit a polite half chuckle, when the screenwriters are trying for uproarious laughter. But it benefits from an excellent cast, who seem to be all in. And whenever there’s a stretch of extended mediocrity, it’s almost always saved by an unexpected moment of politically incorrect inspiration.

This latest from director Wayne Wang, about the friendship of two young women, travels from 2011 to 1997 to 1829 to 1838, in search of a reason for the audience to keep watching and start caring. That reason is never found.

Seinfeld’s over-the-top, throw-in-everything-but-the-kitchen-sink approach makes for an uneven film, with some gags inspired, others groan-inducing. But its 1960s period detail and constant parade of familiar faces keeps things rolling.

The Lovely Bones is difficult viewing, a meticulously crafted experiment that, it turns out, wasn't worth it.

Unpolished but entertaining.

My Father, the Hero makes up for its lack of energy with a handful of bright moments created by Depardieu's sheer charm even in a galumphing part. He has to maintain incredulous looks through several long scenes and be the world's most befuddled dolt in others, but he pulls them off, mostly because he's such a likable lunk. [4 Feb 1994, p.C3]

Doesn't work at all. Even the structure is off.

A dreadful exercise, with a script full of contradictions and empty gestures and a leading lady who's such a novice it hurts to watch her.

There's something wrong with a time-travel movie that allows an audience's interest to drift so that we have time to worry over where he's parked, and whether he remembered to take his key.

Cage gives a performance that invites audiences to lay cynicism aside in a romantic fable.

Succeeds in its modest way because its stars, Melissa Joan Hart and Adrian Grenier, are pleasant to be around.