A film with its heart in the right place. Unfortunately, its head is stuck so far in the clouds that it dissolves into preachy do- gooder mush.

The overall premise, involving mental illness and suicide, isn't all that funny, at least not in practice, and the picture begins to seem labored and long.

It's a perfect fit for Williams -- a hunk of slapstick, a dose of schmaltz -- and yet he can't save the film, which is overproduced, mechanical and resoundingly unfunny.

This is a movie that derives most of its suspense on whether a piece of paper will be signed, not a strong basis for dramatic tension. Here and there, we see moments of genuine emotion, but even then, it feels like we’ve been there, done that.

The movie plays more like a WB network teen drama than something audiences should be expected to pay to see.

The Bourne series ended with the last installment, and now comes a 135-minute death rattle called The Bourne Legacy. It's a peculiar movie, both over-plotted and under-plotted, encumbered by layers of detail and yet with no details invested in or developed.

May not be a very enjoyable movie, but at least the badness is in good taste.

It's all rather haphazard, and fans will wait in vain for Sheriff Harry S Truman, rich girl sexbomb Audrey Horne and the rest, or for more Cooper. Brief bits that avid viewers can understand will render the film incomprehensible to the new viewer. [29 Aug 1992]

Drama is as much about perspective as it is about events, and the angle provided by How I Live Now turns out to be self-defeating.

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

It’s a pastiche of a pastiche, cycling through familiar tropes without adding anything to them; turning what could have been a fascinating critique of society’s superhero obsession into just another way of indulging it.

Has a vacant, inept, why-oh-why feeling from its opening minutes and only gets worse.

A half-baked script by Jacob Meszaros and Mya Stark admittedly gives Feig little to work with. But his young cast is capable of a lot more than is required of them in this so-called comedy.

Cute little fellow, but unfortunately, the film in which he stars is little more than catnip.

By the time we get to a kaiju-inspired third-act throwdown involving multiple giant sea monsters and a mystical trident, this story feels like it’s gotten too big for its small frame.

Sporadic on-field violence is only a tiny reason that Gracie disappoints, but it's indicative of the film's greater problem. Producers Elisabeth and Andrew Shue seem so intent on creating a hero out of the main character and villains out of almost everyone else, that they've completely distorted reality.

It seems Joris-Peyrafitte can’t decide what film he is making, and as a result we’re left with a jumbled mess with a slapped-together resolution that will satisfy no one.

A horror movie that has the distinction of not even being scary... Although Koontz wrote the screenplay, the suspense for which he is supposed to be famous doesn't translate to the screen.

What this film desperately needed was another element in the script, something besides love and sex. Maybe something about art, something that put the lovers on the same team and back into those appealing bohemian clubs. As it stands, love jones is a smart setting in search of a story.

The problem with Ready or Not is that directors Matt Bettinelli-Olpin and Tyler Gillett (“V/H/S”) don’t know what kind of movie they want to make, or what to do with their heroine. There are constant shifts in tone — is it a comedy, like the trapped-in-a-mansion “Murder By Death”? A satire on the rich? A kick-ass revenge picture?

Works better as unintentional comedy than horror.

Although well intentioned, has the superficial gloss of a TV movie of the week.

There's not a single moment here in which Nixon is admirable, decisive or appealing. Nixon doesn't work as a drama, but with a little push it might have been a great comedy.

Trade is a total misfire, a strange attempt at making a buddy movie featuring a morose Kevin Kline and a 17-year-old Mexican boy looking for his kidnapped sister.

There might be a lot of guts scattered around in Leatherface: Texas Chainsaw Massacre III, but it's a completely gutless movie, without the wit to be a comedy or the nerve to stand on its own as a straight horror picture. It just floats around at its own dull pace, trying this out and that out, as it slowly sinks. [13 Jan 1990, p.C30]

Margaret Cho goes over the top in the new Netflix comedy Good on Paper, mugging and delivering lines too emphatically. But as the movie progresses, you see the San Francisco native’s approach not as overacting, but heroism. She appears to be trying to single-handedly breathe life into this nearly laugh-free movie.

This is the first Focker installment not directed by Jay Roach, who did a good job balancing the yuks with the more outrageous gross-outs. That comic-revolting parity shouldn't be much of a challenge for "American Pie's" Paul Weitz, and yet the skeevier bits aren't especially funny.

The action comes so fast and furious in Furious 7 that, for all the explosions and overturned cars and missiles fired on downtown Los Angeles, it becomes a dull muddle. Here and there, we get the imaginative and outrageous stunts this series is famous for, but mostly the movie plods along, muscling through without much life or spirit.