Though Michelle’s transformation into a family-loving gal is hardly convincing, the film still moves along quickly, and McCarthy has some memorable moments in which her comic chops are on full display.

Describing this makes it sound like there’s more plot than there actually is, but “The Carpenter’s Son” isn’t a conventional story. It’s more of a mood piece, with a true run time of just barely 90 minutes. But it’s got Cage, and that’s the difference maker.

Horrible Bosses 2 is harsh and tasteless, not to mention broad and shameless, but that’s not a bad thing in this case. Softness and good taste, as well as restraint and carefulness, are the enemies of comedy, and “Horrible Bosses 2” is a very funny movie.

It’s a simple, sick, ridiculous story told with relentless tension and forward thrust.

Despite lapses in the script, there is a palpable chemistry between Usher and Jackson, and the humor that sparks between the two is what carries the film through its fairly predictable paces.

It's a strange thing, this type of whimsy. Kari offers us ideas in place of characters, and yet he expects us to see through these ideas to the real-life conditions they represent - and then to respond to them in kind.

In style and tone, Igor seems more like a short from the adult-oriented "Spike & Mike's Festival of Animation."

The pure mechanics of Here Comes the Boom land it in an enjoyable, if forgettable, space.

Poor casting is compounded by a ludicrous script.

A daring, free-spirited and ultimately moving performance by Benjamin Bratt lies at the beating heart of Pinero.

It's rough when it works and rough when it doesn't. Much of the first hour is made up of slow patches, while the last 20 minutes are ugly and terrifying.

The movie is a mess.

It’s the kind of torment you can wish on your worst enemy without feeling too guilty, not something to inflict permanent damage, just two hours of soul-sickening confusion and sensory torment.

Held back by a story and script that is often silly and confusing.

It bombs, but not for lack of trying. It bombs for too much trying. [17 Feb 1990, p.C3]

Not cheesy enough to be fun/bad (the recent loss of Raquel Welch reminds us of what a hoot such junk films like her 1966 “One Million Years B.C.” could be) nor awesome enough to compete with the “Jurassic” movies of the world, this production is an in-betweener whose biggest asset is a tight, 93-minute running time.

A convoluted mess, but there have been worse.

Like its protagonist, Ceremony is as smart as it is exasperating.

A movie that is not only achingly funny but also full of serious and philosophical truisms.

A movie like this depends on clever bits and incidents, but there's little invention here to disguise the film's formulaic nature.

With Lloyd Webber onboard not just as composer but also co-screenwriter and producer, the film seemed destined to stay true to its roots rather than attempt to transcend them.

It's surprising how dated some of the humor is.

Watching The Goldfinch is like reading a novel where someone ripped out every third page from front to back. You can tell there’s a good story, with compelling characters, and maybe a strong mystery. But the connective tissue is missing to the point of constant distraction.

Twixt is fun, but fairly flimsy - it doesn't have the ambition of his previous film, the black-and-white character piece "Tetro." It's also not really scary, although there are some nice creepy visuals here and there.

Though Meg 2 is by far the biggest production he’s ever helmed, director Ben Wheatley doesn’t appear to be in over his head with this; special effects and stunts are proficiently delivered, no matter how ludicrous

Too grotesque for children and just too silly for their parents.

An exceptionally good movie in its first hour and an exceptionally bad one in its second.

Ultimately, no matter what angle you see Bliss from, the story converges on a choice and a question: Which world do you choose to live in? And what can bring a person back to reality?