Serious Moonlight is a tonal disaster, distasteful and sentimental by turns. It was probably a mistake to have Hines try to walk that same delicate line that took Shelly her entire career to master.

Relies on slapstick scenes that are neither essential nor especially clever.

What makes it interesting is the story that the viewer must put together, of a model who lives her entire life -- or at least what we see of it -- in front of the camera.

There is a very good movie stuck somewhere on The Thirteenth Floor trying to get out. Too bad this isn't it.

Although The Reaping' borrows elements from classics of the genre -- rips them off might be more accurate -- it fails to build the psychological tension that made them so creepily good.

This is anti-funny, where every attempt at a joke is like a little rock thrown at your face.

Best reason to stay home and rent "Disturbia": I Am Number Four is a little better and makes loads more sense than "Eagle Eye." But neither has the sass and pluck of "Disturbia."

Who wants to spend a minute on the Strip with the chance that there might be people as annoying as the characters played by Cameron Diaz and Ashton Kutcher walking around?

The predictable script feels as if it were filmed right off the cocktail napkin it was jotted on, but at least the movie has an "Ocean's 11" sequel's worth of good actors, including Alfred Molina, Jeremy Irons and Jean Reno.

Its whodunit plot is easily figured out, and its story is a mess. Most surprisingly, its star, Bruce Willis, manages to pull off an entirely uncharismatic performance...Striking Distance passes through boring on its way from indifferent to laughable, with the last 20 minutes the most ridiculous. [17 Sept 1993, p.C1]

Goodwin radiates probity and makes waiting almost look interesting, and so, for all the movie's awkwardness, it remains watchable.

The Invisible is, at its core, a character study, albeit one with a Patrick Swayze-in-"Ghost" paranormal edge. But it's definitely not mindless trash. If anything, the movie is too introspective, to the point that it doesn't build enough conflict or tension.

Despite its faults Rambo III has an undeniable momentum and, judged on its own terms, a certain comic-book appeal. [26 May 1988, p.E1]

The new comedy is screechingly inane and skitters in nine directions at once.

It would be a mildly lovely thing to be able to say the movie isn't bad. But it is.

Listless, self-absorbed slackers stare into computer monitors, groan about their lives and moan during cyber sex in On_Line. It makes you wonder, is there is a market for soft-porn movies for lonely geeks? Isn't that what computers are for in the first place?

An uneasy mixture of tragedy, satire, monster yarn and David Cronenberg creepiness, No Such Thing can't decide what it wants to be or how it needs to get there.

The Next Karate Kid' has all the makings of a terrible movie, but it never quite becomes one. One reason might be that cinematographer Laszlo Kovacs just loves a beautiful picture. [10 Sep 1994, p.E6]

Bordello of Blood easily could have been called "Bore- dello of Blood." This gory vampire spoof is remarkably free of jolts, hardly registering as a fright film, with a series of weak special effects involving many globs of guts...The big themes in this lackluster second feature under the "Tales From the Crypt" banner are sex and religion. Both are presented with painfully sophomoric irreverence.

The concept might have worked well on paper. But on screen, at least how Chase Palmer has directed and co-scripted it, those clashing elements exert weak gravitational pull.

Written by William Gibson, who adapted his own short story, and directed by New York artist Robert Longo in his feature debut, Johnny Mnemonic is inescapably a very cool movie. Running at a fevered pace, with laser and light explosions, it introduces a fantastic yet plausible vision of a computer-dominated age.

One more small thing: Every other scene in Saw IV starts and ends with a potential victim pressing "play" on a tape recorder, to the point where it's almost funny.

Two awful things about Push are at least interesting: The first is the way in which the story is confused. The second is that the story makes no sense.

Kin is not a snoozer, at least, and the Baker brothers are certainly not untalented, but their genre-mashing experiment doesn’t work on any emotional level.

The game’s repetition quickly gets tiresome.

A funny action comedy that comes into your house in a good mood and gets the reaction it’s supposed to get: laughs.

A stink bomb of a movie.

It's the kind of movie that crumbles into trash -- non-recyclable -- if you spend more than 10 minutes thinking about it. It's designed for dumb fun, and delivers some. [10 July 1992, p.D3]