It's an entertaining movie, which is half the game, but it's not scary, which it should be. Neither is it something to be taken seriously, though it's intended to be.

What makes Aloft better than dismissible is that it’s a sincere failure, not a cynical one, and the cinematography is arresting. In fact, for scattered seconds throughout the movie, Aloft is beautiful to look at.

Actually, there is one other thing that’s unforgivable. After building up to the great climactic confrontation for two-thirds of the movie, it’s a letdown.

There are two main obstacles to enjoying The Last Witch Hunter. One is your ability to buy Vin Diesel as an immortal slayer of evildoers plying his trade in today’s Manhattan. You also have to swallow a by-the-numbers plot buried under an avalanche of fast-and-furious but underwhelming CGI effects.

Starring Linda Blair and directed by Mark Lester, this 1979 film was made too late to cash in on the roller-skating craze that briefly swept parts of California in the 1970s. The story is inconsequential, but the camp value is high. [26 Nov 2000]

When the books are written, The War With Grandpa — the first family film to hit theaters since the pandemic — will have a special place in De Niro’s vast and varied cinematic legacy as the absolute worst movie he ever made.

The picture is more impressive as it goes along, revealing a symmetry of construction underneath the rudiments of a thriller.

Surprisingly decent.

A cynically made, painfully long comedy without a single laugh. It's a film to really make you wonder about Damon Wayans ' abilities as a comic actor.

For all the characters butting heads, all the street fights and all the explosions (there are plenty of those), Street Fighter may very well put you to sleep. [24 Dec 1994, p.E1]

It matches up two comic actors and instead of clashing or canceling each other out, they bring in the best possible result: A comedy with twice the laughs.

Vigilante movies hold a firm place in cinematic history, but for them to work, the vigilante needs to be a sympathetic anti-hero.

Ghosted is repellent without ever quite being obnoxious and worthless without ever being boring.

Black Sheep is a little comedy that succeeds in its modest aim to provide 87 minutes of harmless diversion. If you have nothing to do -- and I mean absolutely nothing -- Black Sheep, which opens today, is a must-see.

The reboot of the "Friday the 13th" series is a pretty big mess - not particularly scary or interesting or even gory by 21st century movie standards.

The flat-out awful ending, though, deflates much of the goodwill built up by the rest of the film.

For the most part, this film has the disadvantages of Chinese action films, without the advantages. That is, it overdoes the action and it’s short on character, without attaining the manic, wild heights of Hong Kong cinema of the 1980s and early ’90s. Still, it’s nice to see Chan once again in a Chinese environment.

The likability of Lydia and Emily helps, but writer-director Ben Falcone’s tendency to milk emotion that isn’t there drags down the movie and some of the comic bits feel obvious and pushed.

Year One has one joke, but it's a good one, played for many variations over the course of an often very funny comedy.

The movie's narrative tension hinges on, well, nothing.

Instead of concealing it, I'll just come out and say that I find it difficult to be enthusiastic about this well-acted and gracefully directed movie, but for reasons that might be called philosophical.

With almost nothing else going for it, the sequel will likely be a disappointment to everyone except 10-year-old barf joke aficionados and a few stoned adults.

Like most movies based on games, this film appears to have been quite literally doomed from the start.

So Orwell it’s not. But “Mercy” is a cinematic feat of a different kind, even if it begins to fade soon after leaving the theater.

There's so much torture and suffering in this movie, it starts to feel like "Zero Dark Smurfy."

If you see Alice Through the Looking Glass, prepare to lean forward in your seat just to stay awake.

As a 110-minute diversion, as a source of some laughs, as an opportunity for two funny guys to be funny — and to be funny with each other — what’s not to like? Just go in not expecting much.

Jingle wants to warm our hearts and establish Schwarzenegger as a family man -- but devotes so much time to goony violence and broad physical comedy that the last-reel schmaltz feels hollow and tacked-on.