Don't even try to make any sense of this --none of it elicits a moment of genuine concern.

A graceless, embarrassing effort.

A turkey.

The film’s broad performances, undemanding humor and not-too-frightening horror are all designed to appeal to kids (and older fans of the “Haunted House” series). Adults are advised to enjoy the living Spirit Halloween aesthetic of it all, and remember that you love your children while enduring the rest of this hollow experience.

Third Person is Paul Haggis' best movie, and the one he has been building toward for years.

The thriller is populated by the usual dimwits who stumble into horrific situations and don't have the good sense to leave, and it tries to pass off some of the sorriest excuses for zombies ever seen.

A mess.

The problem comes down to this: If you take the spirituality out of Ben-Hur, you take the Ben-Hur out of Ben-Hur.

Once the believability drops, the seams start to show, whether it’s some extras who seem aware of the camera, bad edits, comic-timing misfires or songs written for Thorne that aren’t quite as good as everyone onscreen says they are.

The ultimate failure of Jurassic World: Dominion is not only that it relies too much on action, but that the action is lousy.

Adams, a six-time Oscar nominee, is likely headed to a seventh for an admittedly showy but nuanced turn that manages to bring Bev’s humanity bubbling to the surface even as her ugly side dominates — as Thoreau might say, a life of not-so-quiet desperation. Close is terrific as usual.

But there's just enough comforting familiarity mixed with refreshing new characters to hold the casserole of a plot together.

For some, this sort of thinking is a much-needed revolution in human consciousness. For others, it's little more than New Age platitudes and questionable science.

At the heart of The Return is a murder that even the most bumbling homicide investigator could have solved in about 12 seconds.

As entertaining an action movie as you're going to find. [13 Apr 1991, p.C3]

Hollywood hit-making at its efficient, formulaic worst.

Adam Sandler finally has a good excuse: The devil made him do it.

Funnier than the original.

Tolerable for undiscriminating horror fans but should be shunned by everybody else.

Sharkboy relies almost entirely on 3-D for its kicks. The novelty, however, quickly wears thin with the thinnest of stories to project.

Trying to be provocative with a capital "P," Anne Fontaine's Adore undermines itself by provoking unintended laughs.

In the end - and every story needs one - The Words is a decent, ambitious, unoriginal film about a decent, ambitious, unoriginal writer. Both aim for greatness. Both fall short.

This is a story that should have been, at the absolute most, 20 minutes long.

The “Paranormal Activity” films, to their credit, build slowly, backloading the chills in the second half. That means, to get through that first hour, the characters have to be interesting, but these self-absorbed Gen Z wannabe filmmakers are anything but.

One of the smartest action thrillers to come along in the past few years. It's also one of the freshest.

The film's basic material, that is the history, is not without interest. And it must be admitted that every so often - for about 10 seconds every 10 minutes - we get a hint of the movie they wanted to make and hoped they were making: One about the thrill of early aviation and the promise of a young century.

The only surprise is that there are no surprises.

What we have in this film is a whole lot of nothing, and the little that's there is irritating.