The first and most honest thing to say about Miracle at St. Anna is that it's an awful mess.

It's fast, snappy and entertaining in a superficial way. But it lacks gravity and authenticity and seems more like a product than an attempt to tell a story.

Seems it's never going to reach liftoff.

Clocking in at 105 minutes, Love Don't Cost a Thing drags for stretches. The nicest thing about most standardized teen movies is their brevity. When we all know where it's going, it shouldn't take so long to get there.

Despite the fact that the movie covers some new cinematic territory, much of the humor feels recycled, mostly from the "Seinfeld" episodes "The Boyfriend" (the one where Jerry has a man crush on Keith Hernandez) and "The Outing."

As bad as its title.

Recalling the earthiness Broderick Crawford brought to the original, I couldn't help thinking Gandolfini should have been cast as Willie.

A surprisingly clever lunatic comedy that may prompt some sniping from liberal fussbudgets, but has undeniable comic vitality. [15 Oct 1993, p.C1]

For at least an hour of its hour and a half running time, Fist Fight is a complete failure, a sour comedy without laughs. But then something happens in the movie’s last quarter. It doesn’t exactly redeem itself, but it comes into focus and starts making sense on its own weird terms.

It's just horsing around that comes to nothing. No, it's worse. It's horsing around designed to disguise nothing as something.

Misfires so severely that even the clever details get obliterated in the resulting mess.

Mercury Rising is a Bruce Willis action movie, which means that most of us know what it will be like going in, and the only question is whether it's a good one or a lousy one. Answer: This is a good one.

It's a big disappointment.

Has many grotesque sex scenes, interspersed with sights of Chong rambling in a dissociated way as she sits in her squalid apartment.

Boyle isn't the first British or European filmmaker to make his obligatory zesty American road movie (apparently it's a dream for anyone raised on American cinema), but knowing that doesn't make A Life Less Ordinary any less tiring or its numerous pilferings any less obvious or annoying.

Well written but weakly executed, it's hard to imagine anyone is going to cherish the film, if they even remember it in three months' time.

Children will enjoy the physical humor, but discerning adults are advised to pawn their sons and daughters off on some other unsuspecting chaperone -- preferably one who doesn't read movie reviews.

Watching this movie is like eating a hot fudge sundae and lasagna in alternating bites.

Fans of J-horror (for Japan, where the genre was born; its conventions have since spread to South Korea and Thailand) will find Shutter familiar; others may just doze.

It is a colossal bomb, an epic miscalculation, an excuse for actor self-indulgence and for what sounds very much like bad improvisation.

At its core, Star Trek: Section 31 suffers from a kind of existential emptiness. It appropriates some of the surface-level iconography of “Trek” but fails to uphold its spirit. It nods to continuity, but the dense lore feels like a gatekeeping exercise and the breezy tone undermines the gravitas of its own premise.

There's no point complaining that Honey is a tired reworking of an old formula, because it's intended for a young audience that doesn't know the formula.

Forgettably mediocre, but it's not atrocious.

Jonah Hill has directed and co-written an impressive little movie with “Outcome.” It could be called a Hollywood satire, but what’s striking about it — and audacious and unexpected — is that it’s dramatic and heartfelt. Here and there, it even comes close to being sentimental.

In the Blink of an Eye proves yet again that Stanton is a dreamer, with an unshakeable faith in humanity. That’s not nothing.

The battle in Battle: Los Angeles is grab-the-armrest tense until the last seconds.

Without the sheer watchability of Johnson, Reynolds and Gadot, Red Notice would have been intolerable. It also would have been pointless. But with them, it’s a pleasantly lousy movie that some people, if they look at the screen and squint really hard, might mistake for something decent.

Child's Play 2, stupid as it is, is a surprisingly tight low-budget production, making effective use of dark settings and rainy nights, and a handful of in-yer-face scare tactics that keep the action pumped up. [10 Nov 1990, p.C3]