Actually, the only truly obnoxious thing about 3 Days to Kill is that the violent scenes are more congenial than the family scenes, because the teenage daughter (Hailee Steinfeld) here is presented as a sour, nasty brat.

Welcome to Marwen does not work as a drama of addiction, and frankly it doesn’t work as a celebration of Hogancamp’s creations, which work best as stunning still-photo images.

The studio behind Wicker Park bills it as a "romantic thriller.'' But it's actually an example of an even more unusual subgenre: the dumb, suspense- free and undersexed stalker drama.

A little like spending the holidays with strangers. The spirits are high, the relationships are warm, the personal stories have a shared history, and even though you're on the outside of things, you appreciate the people in a remote and perhaps admiring sort of way. Still, when it's time to leave, you're not sorry.

Not a bad film. I'm going to stick my neck out and call it a good one - a small, dense chamber study of unhappy people looking for hope in the darkness, often literally.

Heavy-handed dialogue, flurries of melodrama and a silly ending make the whole enterprise sink like a stone.

They take on special powers that the filmmakers are incapable of making interesting, partly because the characters are ciphers, and partly because the story is listless and uninventive.

At best, it will be remembered as "that exorcism movie with Eric Bana." More likely, "that exorcism movie where everyone has a bad New York accent."

All the movie’s finer points — of audience response, of interaction, of the dances between people — are conveyed with a specificity so expert that it seems offhand.

Salinger does what so many documentaries and biopics either fail to do or decline to attempt; it speculates convincingly on the connective tissue between the life and the work of the subject.

It's a little of this, a little of that, and in the meantime there's not a single joke to crack a smile over. [20 Mar 1993, p.C3]

A slow-moving family drama guaranteed to induce a nap if not somnambulism.

Stone tries to make us like Alexander because he's good, when he should have made us want to watch Alexander because he's amazing.

About five times as funny as "Scary Movie 3."

Gets most of the big things wrong and almost all the little things right. For two-thirds of its running time, it's a nasty little delight with an amusing and curmudgeonly central character.

It has a life and style that other buddy action movies lack

The result is mixed bag, an intermittently pleasing but mostly routine effort.

It's precisely Seagal's incongruity that has made him a great absurdist hero -- and that makes Fire Down Below a kick.

It has no ambition, little sense and false sentiment, but it does have velocity, high spirits and scale.

The plot relies heavily on pat betrayal, forced coincidences - and the sort of closure that lands, with a thud, in a tidy package of cliches. Yet some of the humor is delicious.

Biting and incisive.

Smurfs: The Lost Village has the look of a film that was rushed, and made on a tight budget. At best, it’s an adequate cinematic babysitter.

Intelligent, observant entertainment designed for an adult audience.

Aloha shows how far a movie can go on charm alone.

If Insidious 2 exists solely because Insidious 1 made a ton of money, then at least credit Wan for making quality control a priority.

There are isolated moments of humor, and even charm. The visual effects are at times outstanding. But these positives are overwhelmed by the uninspired whole.

And then there’s the real problem with Pitch Perfect 3: The best thing about the first movie — the singing — feels like an afterthought.

Remains exciting, even as we laugh at the amateur-night antics of the women.