Deadfall is dreadful -- pretentious story, bad acting, off-kilter direction, disgusting violence and irrelevant sex. [06 Dec 1993, p.D2]

It's both amazing and depressing how much talent goes to waste in the lame adaptation of Kurt Vonnegut Jr.'s 1973 absurdist novel.

It's beautifully shot by first-time feature director Antoine Fuqua, whose eye for sensual surfaces, deft camera moves and elegant framing was refined with commercials and music videos

It’s average. If you like this sort of movie, knock yourself out.

An often amusing but also an aimless and forgettable animated comedy that is noteworthy mostly for its random musical numbers and surprising amounts of violence.

While it's filled with quality actors, this James Bond tale for tweens feels like something you should be getting for free on television.

It's visually stunning, especially in scenes of the African countryside, and takes more risks than most independent films.

It could be considered an achievement that a full-length feature movie with a talented ensemble cast, led by Kristen Bell and Allison Janney, couldn’t create a single character that you would want to spend more than five minutes with, but there it is. Not even picturesque London can save this witless comedy.

The pleasures of Suburbicon are in the moment, and the moments fade before the next moment. There’s no build, just flashes of virtuosity — flashes ultimately in the service of nothing.

Kids probably will enjoy portions of Return to Oz, but at best, it's a mechanical movie that never finds a real heart to engage an audience. [21 Jun 1985, p.79]

Ritchie aspires to be a great British director, but his working his way through British icons — Sherlock Holmes wasn’t even safe — does no one any good. He just reduces them to his own vernacular, his own level, and he ends up revealing nothing about them and everything about his own narrow vision.

There’s nothing wrong with a big, dumb-as-dirt action flick. You’ve made some enjoyable ones over the years — the first “Transformers,” “Bad Boys” — but 6 Underground, a nonstop stunt reel with a few, admittedly impressive displays of your usual visual verve — is just “Fast & Furious” crossed with an old Whitesnake music video, but with fewer functioning brain cells.

Jackpot! involves a fight to the finish between the abundant charisma and likability of leads Awkwafina and John Cena and the impossible material they were given. The actors lose, because nobody could survive so many jokes based on groin kicks and bathroom humor or a movie premise as lacking in context as it is sky-high in concept.

This movie has a sweetness at its core.

Unlike the game, Clue doesn't take murder seriously. Writer-director Jonathan Lynn has made a campy non-thriller rather than laying down the mystery and then having fun with it; the comedy kills the plot.

As Kaiulani's story, it falls flat, having collapsed under the weight of the genre's mushier conventions. There are too many swooping violins, too many trite generalizations, too few moments that throw a light on history and turn it into art.

I found myself enjoying Lionheart, mostly because Van Damme is appealing and easy to root for. I like the steady, oddly unjudgmental look that crosses his face when he's about to beat someone to a pulp. [12 Jan 1991, p.C3]

If you see only one bad movie this year, definitely make it Knowing. The first major disappointment from director Alex Proyas is a disaster movie, a horror picture, a "Da Vinci Code"-style thriller and an end-of-days religious film all at once.

For a time, Journey 2 becomes a lost episode of "Lost," then it becomes "King Kong," minus the ape. Then it becomes a ukulele music video featuring the Rock's take on Israel Kamakawiwo'ole's "What a Wonderful World."

Depending on your tolerance for talking Chihuahuas, this could make for a fun family night out.

I had a migraine when I started watching Larry Crowne, and by the end, it went away. None of this quite adds up to a recommendation, but it's close. Very close.

Memorable enough.

Neeson also does a good job tracing his character’s cognitive deterioration over the course of the movie. As such, Memory is like a hybrid, mixing serious sections with Neeson’s usual action stuff. Call it a little bit of this and a little bit of that, or not enough of this and not enough of that.

Something to see and occasionally even to laugh at.

A caper comedy with some definite problems.

To be fair, War of the Buttons is a film with a modest agenda. It does not attempt to provide a complete or even vaguely realistic depiction of the rural French resistance in the endgame to World War II. Instead, it provides a fable.

An occasionally charming, sometimes amateurish film .

A strange mix of the campy, at least in the English dubbing, and the awesome.