P.S.: It stinks.

So Freddy's Dead, in the hands of first-time director Rachel Talalay, pretty much tramples incoherently and unscarily across the same old cemeteries of the mind and through the same dark corridors of old, cobwebbed houses. [14 Sept 1991, p.C3]

“Dead Men” is a jumble of half-baked impulses.

Director Stephen Chbosky needed to bring this stage musical into greater balance with the film medium. He needed to make Dear Evan Hansen less grandiose. He needed to pick up the pace and chop 10 minutes from the running time. It’s still possible that wouldn’t have saved it, but it might have made it less awful.

A rollicking comedy for the gay niche that rarely rises above the level of a high school skit, Phillip J. Bartell's sequel to 2004's "Eating Out" is loaded with silliness and eye candy.

Confusing, mixing messages of self-empowerment with those of conformity.

Snoop has obviously made a real-life impact in his community. Too bad he couldn’t make one in reel life as well.

Like the King of Pop himself, “Michael” is unashamedly a crowd-pleaser.

Truly awful.

A B-movie with a few thrills and plenty of inane dialogue.

The filmmakers offer very few clues, just more aqua filters and low-contrast visuals. And with each new jarring edit, the viewer cares less and less, until the 100 minutes seem to stretch on forever.

The whole cast is likable and the scenery lovely, making this only the second-worst Shields beach movie, after “The Blue Lagoon.”

The “Diary of a Wimpy Kid” series has been, at its core, “Alvin and the Chipmunks” without the rodents.

The movie as a whole isn't exactly ground-breaking, and some of the humor tanks. But it has enough action, laughs and candy-hued visuals to satisfy the target audience without plunging grown-ups into despair.

Airplane buffs are going to have a particularly good time; each of the planes seems to have an obscure real-life counterpart. And pop-culture junkies will appreciate a few sly nods as well.

Stays emotionally mired because of a static screenplay that fails to express its issues dramatically.

Supposedly he's suffered, supposedly there are demons lurking within, but guess what: This is a movie. If we can't see it, it's not there.

The wolf-homosexual analogy is well drawn, but Wolves ultimately feels slight, a tad unfinished -- as if it were conceived as a sketch and hadn't been fleshed out to feature length.

It's strung together, with cliches instead of puka shells.

The phrase "lesbian comedy" is not exactly an oxymoron, but April's Shower is still a rarity, an expansive, talky and often zany romantic farce, with lesbian characters at its center.

Like Disney’s tepid 2019 live-action remake of “The Lion King,” it’s virtually a beat-by-beat remake of the original, but without the original’s energy and movement.

Sister Act 2 doesn't challenge Goldberg, but it's a marvelous showcase, nonetheless, for one of the screen's most likable personalities. [10 Dec 1993, p.C1]

Earnest but unconvincing film.

The movies have been heading toward this for a while, and now with Mile 22 we get a film that is almost wall-to-wall violence. There is very little talk, and what little talk there is is entirely confrontational. People are either cursing at each other, threatening each other or killing each other.

With words streaming out of their mouths instead of into bubbles, Ethan and his gang of past, present and future lovers sound laughingly unbelievable. They're on the road to inanity.

It's made by a director who knows comedy, working from a script founded on a surefire slapstick premise.

The remaining twisted population that likes this kind of movie will enjoy a horror film that is surprisingly stylish.

The tense, stylish thriller turns into soft-core, slapdash psychodrama.