A revenge-fantasy Western that wants to luxuriate in its B-movie roots but suffers from dull direction and an even duller central performance.

The party scenes are entertaining fantasy, but the insider-business end of the picture is occasionally interesting in its own right.

Has a solid story, which keeps things interesting during the quiet moments when nobody is getting kicked in the head.

For all its weaknesses, Terminator Genisys is a "Terminator" movie that feels like a "Terminator" movie, more than did "Terminator 3," not to mention the ghastly "Terminator Salvation."

Incidentally, this is an Ang Lee film, though, beyond the first-rate production values, you wouldn’t know it. Lee seems happy that he has embraced technology, but what’s the point if the technology is in the service of an empty exercise? He has made one movie like this and doesn’t need to make another.

Eragon may not be a big Oscar contender, but in a movie season filled with blood diamonds, fascist soldiers and Idi Amin, it provides a much-needed afternoon of PG-rated family-friendly adventure.

A gangster movie with the capacity to surprise. People do unexpected things and for reasons we wouldn't anticipate.

At least a half monty.

The overall result of this remake is something as safe and dull as oatmeal.

Just too much of a mediocre thing. It didn't have to be that way.

The blood-soaked “Inferno” practically ends up a promotional snuff film for deforestation.

This is the type of movie that you should be getting for free on television.

Opportunities for comedy are missed by miles. Davidson gets gonzo gags, Palmer is 007 with a heart, Murphy and Longoria try to exist in reality. That halfhearted miasma of genres results in tonal confusion. Murphy throws in what seem like ad libs to spice up a moribund script, but it’s not enough to add flavor to a bland stew.

The film is mildly diverting, occasionally engaging, certifiably workmanlike and altogether too flat an experience to inspire any strong feelings, positive or negative. It’s just there. Some people watch movies for the same reason others climb mountains, because they are there. Well, this is a movie for that audience.

Stephen King's Sleepwalkers represents the first time the author has ever written a story directly for the screen. The result is a nicely paced picture that unfolds gradually, with shocks and surprises throughout. [11 Apr 1992, p. C3]

The real trouble is that it's supposed to be an outrageous comedy, but in fact it's fairly tame and not all that funny.

Emotionally sophisticated, humane and worth talking about for hours.

Amusing enough.

Radio is almost as bad as it gets. That it isn't is thanks to Ed Harris, who brings depth and focus to his performance.

That the film finds its own groove is due largely to the eye of director Ernest Dickerson. Not surprisingly, he began his career as a cinematographer, working on Spike Lee’s early films.

Ouija has something wrong with it from the first five minutes.

Strict plausibility isn’t necessary in these movies, and while No Escape doesn’t completely throw it out the window, it still inspires the occasional unintended giggle.

Inert, incompetent and emotionally fraudulent.

It's a shame that "Confessions" doesn't aim higher because there is a great film to be made about the consumer bait-and-switch that has led so many Americans to live beyond their means.

Often frustrating and at times incomprehensible, the Bourne/Bond clone keeps the pulse racing but ultimately fails to satisfy.

It’s just not very fun or engaging.

A small and not particularly ambitious movie, but it's pleasing and exceptionally well made. It was directed by Stephen Frears, and while it's not up there with his best - "Dangerous Liaisons," "The Queen," "High Fidelity," "Cheri" - Lay the Favorite lavishes the same attention on the personal, on relationships, and, like most Frears films, it puts a woman at the center of the story.

For all the hellfire histrionics and well-timed jump scares, there is actual, admirable intellect behind The Rite.