Desperados is a lot of fun and announces “Saturday Night Live” alum Nasim Pedrad as a comic actress in the tradition of Sandra Bullock.

This wacky buddy road film... has a brilliant glow of intelligence behind the stupidness. It's easily the funniest movie of the year.

If you think of Pompeii as a ride, a conveyance for special effects, and not anything resembling an emotional experience, indifference can almost be a good thing.

Almost so bad it's good. Almost.

The Woman in the Window is, unfortunately, one of Wright’s amazingly bad movies, and this is a shame, with Amy Adams at the center of it.

More in the tone of the big screen "Friday Night Lights" than "Rudy" or "The Blind Side," it succeeds as mainstream entertainment without relying on a conventional storybook framework.

This time the martial arts philosophy lesson rings hollow. [10 Feb 1990, p.C5]

An adventure in mediocrity that brings together some of the worst current techniques and trends.

Still, Silk Road remains watchable because both Robinson and Clarke are interesting screen presences. And there’s some humor, which consistently lands better than the thrills.

Melissa is the only fully developed character in an overlong, badly paced film filled with cliched dialogue and accented by pleasant yet forgettable music.

The result is that rare movie specimen, a completely intentional, expertly guided work of art that fails almost completely.

It's good for a few guffaws and chuckles, but in between the screen has a tendency to stretch at the corners and go flat.

More of a tribute than a hard-hitting piece of American filmmaking, which is too bad, because the subject - the imprisonment of ex-Black Panther figure Mumia Abu-Jamal - deserves a thorough, serious examination.

The movie was written by Scott Yagemann, who taught seven years in the Los Angeles public- school system, and you can feel the rancor and bitterness he still carries.

A pleasant surprise. What looked to be yet another science fiction movie turns out to be one of the year’s few romantic dramas, one which just happens to be set aboard a space ship.

All the movie's narrative gymnastics can't disguise the fact that it's inauthentic at its core and that its story just isn't worth telling.

This thick, leaden production starring Bob Hoskins and Patricia Arquette - and an uncredited Robin Williams - has a sophomoric air, even though it faithfully follows the book.

There's something heartening about a film that aspires to do nothing but entertain -- and does.

This is a film that, in some ways, is too complex for the kids, yet leaves the adults feeling left out, too.

It's a pumped-up, intricate and fast-moving yarn that never flags and continues to play out in unexpected ways as it unravels.

Sabotage cannot be called a good movie, not with a straight face. But as an Arnold Schwarzenegger movie, it has something.

A lot of resources went into making G-Force - a lot of talent, a lot of money, a lot of marketing - and there's not much to show for it, not even some halfway imaginative 3-D gimmickry.

Instead of building in impact, the film feels smaller as the cast dwindles. You get the feeling that the most important actors are getting killed first, so that they can go off to act in better movies. [20 Apr 1994, p.E5]

Disappointing, pointless and repetitive.

A real surprise. It seems to promise an exploitative genre movie, about gangsters and drug deals, and it delivers on that, but it’s something more. Director Catherine Hardwicke and screenwriter Gareth Dunnet-Alcocet have taken a Mexican thriller, with a female victim at its center, and have turned it into an intelligent feminist film.

Before I Go to Sleep emerges as a mystery — one with a slow burn leading to a big payoff. But what keeps the movie going, beyond questions of what is true and what is false, are the issues raised by the illness itself.

Benefits from Smith and Lawrence's chemistry. As long as they're on screen together, things breeze along. But when they're apart, the movie flounders.

This is a movie of excesses that doesn't know when to settle down. It aims to be a slapstick comedy, a romantic comedy and a plain old romance but falls short of each goal.