An otherwise passable horror film that delivers more than enough cheap thrills to forgive the plot holes.

In the end, there is something to be said for letting actors loose on a roller-coaster ride, but from time to time, someone needs to be operating the brakes.

With its flat story, numbed-out protagonist, and faux artistic lighting and set design - everything is dark or moody or darkishly moody or moodily dark - Max Payne seems a good half hour longer than its running time.

Delpy and Scott are able to put it over. She's French and deep and mysterious. He's a fresh-faced American, an open book. Liking them makes it possible to (kinda) like this otherwise routine horror movie.

The King’s Daughter has a script that reads like it was written in crayon, by someone using only their thumbs. But two good performances make the film watchable: Pierce Brosnan as King Louis XIV and William Hurt as his adviser and confessor, Pere Francois de La Chaise.

The most enjoyable way to watch Surveillance - "enjoyable," in the relative sense - is to take its awfulness for granted and pay attention to everything Bill Pullman does.

Fifty Shades Freed has something extra going for it, in that it depicts something that movies and pop songs and pop culture in general tend to avoid, which is the romance of familiarity.

While many of the film’s action sequences are in slow motion, it’s the story’s narrative (credited to Snyder, Shay Hatten and Kurt Johnstad) that really crawls.

Things are generally cute in the film -- and that goes for the stars -- and it all chugs along in some curious bubblegum-chewing sort of way. But the flavor's decidedly flat. [18 May 1991, p.C3]

May be a good tactical move for the artist's career, but it's a bad movie.

Silent Hill has plenty of bad acting, bad dialogue and a confusing plot -- all of which become exponentially more painful when the movie goes on forever.

The Lazarus Effect is not the usual mindless thriller, but it’s as flat as an open soda from last week, with dull characters and virtually every scene taking place in a single location. It looks as if it cost about 12 bucks to make — and somebody got robbed.

The Honeymooners isn't the worst of the endless spate of TV rehashes, but it still feels perfunctory.

When Travolta plays, everybody has a good time.

A third-rate effort, with a weak script, cheap-looking effects and no genuine frights.

The narrative is a mess, and the overly long action sequences are easily forgotten.

To see Perfect Stranger is to wish for a more sophisticated vehicle for a film actress this good, but actors -- and audiences -- take what they can get. This is better than most.

The chief problem with Your Highness is its lack of imagination - its misuse and overuse of language and visual riffs that are only marginally amusing at best.

A wannabe weepie about a woman diagnosed with breast cancer, is Spain’s equivalent of a Lifetime movie, but it’s often lifeless, even with a decent performance by Penélope Cruz.

Between “Jexi” a few weeks ago and now this, October has ended up becoming quite a great month for bad movies about scary software.

Show Dogs is really bad, even for a talking-dog movie.

Perfectly acceptable, perfectly bland, competently acted but by no means a scary horror movie, in which "they" are coming to get people.

A distasteful, overlong slog, but at least the filmmaker appears to have put everything he wanted to up on the screen.

The Garfield Movie is a reheated tray of stale lasagna.

An ugly, misguided exercise.

It's monumentally coarse and vulgar, aimed at the mentality of a 14-year-old locked inside his father's liquor cabinet, and nothing about it is funny, least of all Adam Sandler.

Every once in a while you catch glimpses of originality and see what Gray Matters might have been if it hadn't gone soft and safe.

Has a high-gloss, heightened style reminiscent of that of the film's executive producer, Joel Schumacher.