The Lighthouse is more than four times longer than a “Twilight Zone” episode, and 100 times worse.

A dreary little thriller that irritates more than it thrills.

Saltburn is a remarkable combination of smart and stupid. Its problem is that it’s superficially smart and deeply stupid. It’s clever and amusing in 20 different ways, but when it really matters, it descends into ridiculousness.

The banter, often Smith’s strong suit, is witless and tiresome, mostly obsessive conversations about minor characters in “Star Wars” and other aspects of pop culture. It’s probably not Smith’s intention, but we end up feeling sorry for the characters, that they inhabit such a tiny mental landscape.

What makes Aloft better than dismissible is that it’s a sincere failure, not a cynical one, and the cinematography is arresting. In fact, for scattered seconds throughout the movie, Aloft is beautiful to look at.

It's implausible, cartoonishly overdrawn.

Listen Up Philip wants to say something meaningful about human relationships. But like a frustrated writer staring at a blank piece of paper, the words just never appear.

There’s a weepy turn in the sentimental third act, and why not? Nothing else was working.

Alan Bates and Charlotte Rampling are the brave stars of this pretty but sterile adaptation of the Anton Chekhov stage classic.

Cool World is less artful, short on scripted finesse, and is lacking technical acumen. [11 Jul 1992]

Standard hack-and-giggle fare, with a few wisecracks mixed in with the gore.

When the end finally arrives, it brings no sense of completion, just a sort of numb awareness that the pain has stopped.

The only thing to take from the wreckage of “Lisa Frankenstein” is the performance of Soberano, in her Hollywood debut. She finds comedy in a weak script and radiates goodness without being boring. Let’s hope she has better movies in her future.

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.

Diamantino is one of those movies that looks super fun to make but is mind-numbing to actually watch.

As far as formulaic, empty and disappointing comedies go, The Watch is far from the worst. About every seven or eight minutes, perhaps a dozen times over the course of the picture, the movie generates a medium-size laugh. Not a big laugh.

More than the usual bad or even numbingly horrible movie. It's an amalgam of many of the modern cinema's worst tendencies and modern filmmaking's most unfortunate misconceptions.

A single 125-minute monstrosity of a cop movie.

When You're Strange is a remedial Doors class, taught by a professor who sounds as if he's doing voiceovers for car commercials.

Plodding and unfunny.

Could hardly be called a success -- it's rather a likable disaster.

Haunted Mansion shouldn’t have been rebooted, but if made, it should have clocked in at a modest 90 minutes.

Norm of the North feels as if it intended to be a better movie, but got confused along the way.

Too ludicrous to be taken seriously, but not entertaining enough to rate as camp.

In the long history of bad movies about bad illnesses, A Little Bit of Heaven just might be the worst.

The Cave is National Geographic mixed with Roger Corman, and by the end you'll probably be wishing you saw "Red Eye" instead.

Has an unrelenting staccato quality. Some would say a jackhammer quality.

The best thing about All I See Is You is that it’s not afraid to experiment. But it’s an experiment that went wrong, a film in which ambiguity trumps complexity.