Father-daughter relationship lacks impact.

Pryce is very good, but Very Annie Mary is a bit too eager to please.

Particularly impressive is the film's success at making an actor of average weight look emaciated. His cheekbones are built up so his cheeks appear to sink.

Badly cast and unevenly acted, “Regretting You” features the least healthy mother-daughter relationship since 1975’s “Grey Gardens.”

Although the finished product isn't great, it's more akin to a bad Steve Martin movie from the 1980s than bad Pauly Shore from the 1990s. We mean that as a compliment (sort of).

Annoyingly simplistic.

Jaden is not ready for his solo spotlight, and the film is the same action over and over. Another bad movie from Shyamalan.

Contains so many insults to the audience's intelligence.

When all's said and done, it turns out to be quite sweet-natured. OK. I laughed. So sue me.

Manages to do the impossible: It makes Lopez bland.

The movie is a mess of bits and pieces that try to gel but don't. Still, it is stupidly fun.

Director/writer Kim Joo-hwan (“Midnight Runners”) builds tension deliberately and slowly over the 129-minute running time, delivering some undeniably chilling and visually unsettling images along the way. The Divine Fury doesn’t revolutionize the exorcism movie, but it does manage to shake it up a bit.

Blood surges, splashes, drips, gushes, swamps, floods, swells, swishes, rains, slushes, shoots and smears over everything. The rest of the special effects -- a mechanical arm melting, a school chemistry lab bursting into flame, a head being twisted off a torso -- are nothing to write home about. [11 May 1990, p.E7]

The result is a film that's far superior to Neil LaBute's "Your Friends and Neighbors'' and more entertaining than Todd Solondz's "Happiness.''

Every moviegoer will have his own breaking point, when The Mortal Instruments: City of Bones surpasses the mundane and enters the ridiculous.

Arrives in theaters today with a sheet over its head and a tag on its toe. So to speak. What we have here is a complete systemic failure, a comedy that's not funny, with action that's not thrilling.

In stiff competition for the lamest thing ever put on celluloid.

Despite its posh trimmings, and Fiorentino's feline presence, Jade never rises above its limitations and never cloaks the fact that Eszterhas' dialogue and script are basically pulp -- minus the trashy fun that we've come to expect from the genre.

It has the curse of earnestness. It is so sincere ... it is so sincere it could put you into a coma.

Surprisingly dull and predictable in its characterizations.

Amusing and holds interest largely thanks to its re-creation of a glitzy, flamboyant era, not to mention its soundtrack of disco songs that sound a lot better today than 20 years ago.

A better- than-average comedy that is raunchy and tasteless but ultimately funny from beginning to end.

A good-hearted 'tween comedy hampered by uneven direction and a misguided plot twist.

The movie [Sugarman] made gives little indication that she understands teen girls, dramatic or plain. Much of Confessions seems clueless and -- even worse for moviegoers of any age -- listless.

It lives up to its title, flying by in fast motion. Even the first-wave MTV generation may find the pace exhausting, but this piece of fluff wasn't made for them.

A mixed bag concocted with an almost willful aim to be quaint and a little arty, but one with small wonders poking through its soft, somewhat plain fabric. [06 May 1994]

Everything in the movie is suffused by a vision of life that is resoundingly and evidently false, but as this vision is not repulsive, but is intended to reassure, the lies don’t produce anger or frustration. No, they bring on the laughs.

It’s just cheap, it’s bad, and a completely out-of-left-field Pink Floyd reference — one of their employees is named Syd, the other Barrett — doesn’t help. It just feels like part of the general sloppiness.