As corny and illogical as Poms is, it does have heart and a positive message about aging that is lifted (barely) above the level of cliche by the great cast, especially Keaton and Weaver, who provide a level of complexity that the script can’t.

The problem is the script, which, in scene after scene, contains no surprises.

A relatively harmless movie that becomes killing-a-mockingbird sinful for what it does to its leads.

Will probably pass muster with very young viewers, but their parents may grit their teeth at its saccharine quality.

It is exactly as one might imagine it: slapstick humor, gross-out monsters and more self-referential digs per minute than "Arrested Development."

Between the off-center comic riffs of Tom Arnold and the wildly improbable hair's-breadth escapes, the whole business dissolves into amiable action farce.

A surreal comedy about sex that comes as close to charming as Greenaway ever gets.

It’s bland. It’s benign.

The heart of the picture has to do with the heroes realizing the error of their ways and finding redemption, but it takes a lot for an audience to forgive two murderers. Belly comes up short.

Morgan Freeman's voice is heard as the narrator, which is in itself the stuff of parody. Then we listen and get lost within two sentences, because the narration is so poorly written that Freeman himself probably didn't know what he was talking about.

Has the strengths and weaknesses of a one-man show.

The reversion to formula takes a pleasing comedy and drops it down a notch, but That Awkward Moment is still very easy to like.

Almost everything about the movie lands with an emphatic, preordained thud.

Funny how there are fans of Jennifer Lawrence who will never see her in Serena. It’s not her best film, but it contains one of her best performances, in a role that challenges her more than any other.

It's a respectable B- movie -- airy, inconsequential and a little too cute at times, but fairly entertaining all the same.

Handsomely weathered John Hurt, as Pelagia's father, gives a performance of such unhackneyed dignity that it provides a moral compass for the action and helps to keep the ricocheting emotional content of the film in balance.

Most moviegoers will have trouble looking past Culkin the actor, who does a decent job of sending up youthful fame in a movie that's barely worth the effort.

Runner Runner is less than mediocre, but it's not repellent, which means that to watch it is to root for it - and to be disappointed.

It's a sad sight when two big- name stars sink this low, especially when their demoralization and embarrassment are right up on the screen. [24 Aug 1991, p.C3]

The Nut Job 2 isn’t maddening like “Smurfs 2,” where you continue to hate yourself years later for spending the money. It’s an adequate babysitter that completely fails to inspire.

When its biggest trick is finally revealed, it is not entirely satisfying.

It’s a poorly made film, with rough edits, distracting staging and plot contrivances that can be predicted to the moment.

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

The rare David Spade movie that won't make you hate yourself in the morning.

But throwing fairy dust in our eyes can’t make us think we’ve entered Fairy Land. It just takes a lowdown tale and inflates it until it bursts.

As far as formulaic, empty and disappointing comedies go, The Watch is far from the worst. About every seven or eight minutes, perhaps a dozen times over the course of the picture, the movie generates a medium-size laugh. Not a big laugh.

Some clunky writing and a distracting subplot limit the effectiveness of this ambitious low-budget indie. Great idea for a movie, though.

Well-intentioned but frequently inert.