It's not a great film, but Event Horizon produces an intense sense of visual involvement. The hallucinatory, almost 3-D-like scenes stick in the mind.

So you get comments from the likes of Paul Rudd, Adam Carolla and Judd Apatow, all trying to be funny, but not one says anything remotely amusing or worth hearing.

Speaking of female gangsters, no review of The Kitchen should overlook Margo Martindale, who steals every scene she’s in as a mob matriarch — a gravelly voiced monster with a gutter mouth and a big photo of John F. Kennedy on her wall. Martindale gets to be evil and has as much fun onscreen as she can without smiling.

A harmless, aimless, mildly funny and thoroughly predictable comic-romantic piffle.

Sommers film just lies there, weighted down by a complete lack of wit, artfulness and internal logic. So it's a disaster -- a big, loud, boring wreck.

It's a bizarre hybrid: one part feminist screed, one part French art film and one part skin flick.

A tired and dispiriting affair that takes forever to get going.

Identity Thief is not only not funny. It's negative funny. It's short on laughs, but it will disturb and annoy.

uUninspired, unnecessary and formulaic.

A 2-hour, 20-minute bore-de-force of virtually dialogue-free angst.

Against all odds, Morbius is an intelligent, human story.

Revenge is like a movie about two idiots who jump off a cliff hoping gravity will take a holiday. When they hit the ground _ well, that's just too bad. [16 Feb 1990, p.E1]

Few pictures that start this well go so bad so fast. [7 March 1992, p.C3]

A premise so rock-solid, so guaranteed to please, that it almost doesn't matter that the movie is otherwise a routine slasher, and not a particularly scary one.

Could hardly be called a success -- it's rather a likable disaster.

Its story of intergenerational conflict between immigrant parents and increasingly Westernized children falls flat.

200 Cigarettes doesn't have a bad scene or a false note. The picture is a succession of pointed little moments, nicely written by Shana Larsen and acted with comic assurance and sensitivity.

Really, The Expendables 3 has only one thing going for it, beyond the unremarkable novelty of seeing lots of celebrities in a lousy movie. It has Mel Gibson, who is at his grim, tormented and quirky best here, playing someone who has crossed a moral line and has no regrets.

Every instance when Turbo: A Power Rangers Movie feels like the worst movie ever made, some goofy little screechy moment involving the villainess, Divatox, saves it. So it winds up being nearly the worst movie ever made.

One of the downsides of living in a free society is that every so often someone like Myles Berkowitz gets hold of a camera.

So any "Nightmare" movie has a built-in handicap going in, but the better ones find ways to compensate, by casting appealing young actors (they're always young), by having imaginative dream sequences and - most important of all - by keeping the dreams short. By that standard, this new "Nightmare" is a fairly decent effort.

Even if the idea of The Desperate Hour makes you uneasy, you will be engrossed by it.

In every kids' picture, there are going to be sections that only kids will enjoy. Fortunately, 102 Dalmatians has enough for the adults, too.

A dull film with unsympathetic characters brought together by a gimmicky premise that's handled with no imagination and a pristine fraudulence of emotion. Aside from that, it's great.

The movie appears to be a contrived, poorly produced attempt to sell more of the author's books.

Kraven the Hunter will sate fans with Taylor-Johnson’s action bona fides and its fine cast. But those same fans may be less-than enthusiastic about the idea that, with no Spider-Man and no franchise to move forward, this one essentially has nowhere to go.

She's hopeless, he's hopeless, and this movie is just ghastly.

Has all kinds of good intentions, but the comedy is too broad and the pacing is clumsy. And then there's the Andy Griffith sex scene.