It's a movie, a goofy little movie. Not so bad, but as far as food and sensuality go, ``Like Water for Chocolate'' still has the edge.

An awkward comedy made surprisingly bearable, most of the way, by one actress' ability to turn on the charm and sparkle.

This is the first Focker installment not directed by Jay Roach, who did a good job balancing the yuks with the more outrageous gross-outs. That comic-revolting parity shouldn't be much of a challenge for "American Pie's" Paul Weitz, and yet the skeevier bits aren't especially funny.

Problem Child is a beautiful example of what junk entertainment can be with a smattering of brains behind it. While it hangs there as a monument to audience idiocy, it also lets you have a wallow in fun. You leave thinking there have been worse things on which to spend your time and money. [28 July 1990, p.C3]

Is it a home run? No. But at this point, comic fans are just happy to see Fox play error-free ball with their Marvel adaptations, and Fantastic Four mostly qualifies.

Not surprisingly, only Samuel L. Jackson seems fully to understand that he's in a bad movie, and he makes a virtue of it, using it as an excuse to hang loose, overact and ride the scenes for wherever they might go.

A bunch of gags, most of which you've seen in the trailer, strung together by any means necessary.

It's a dreadful exercise, tin-eared and sincere, bereft of any truth or inspiration.

It’s essentially an animated film, fronted by a live-action Downey and Michael Sheen’s one-note villain. Only Antonio Banderas, in a small role, truly seems to be having a great time.

The whole movie is like that: cute, dead and endless.

The Choice has a twist or two toward the end, and they’re about as cheaply maudlin as the movies get. The only choice is to make sure a barf bag is nearby.

Sadly, fun is a rare element on Pandora, as “Borderlands” trudges through its treasure hunt scenario and endless ripoffs of better franchises from “Lethal Weapon” to “Star Wars.” It makes you want to go home and blow up your Playstation.

10 stories are just way too many. Had producers cut it down to, say, the five most promising stories and fleshed them out a bit, the results might have been better. Instead, it feels just as you might be sucked into a story, it’s over.

Still, for much of “Madame Web,” even when it turns bad, it’s a pleasure to see Johnson in this kind of movie.

Has to go down as a failed comedy. It's just not enough of a comedy.

The sequel is one big tease.

A perfect vehicle for Robin Williams. He again plays the compassionate, manic clown that has been his main character throughout his movie career. And audiences love his wild end runs.

Unfortunately these characters are stuck in a picture that is little more than a gory mess, heavy on the smoke machines and thunderous sound track, but with no suspense and not much interest. Split Second is just a series of killings that come, one after the other, until the movie hits feature length, and then it's the bad guy's turn. Since these killings all consist of a heart being yanked out of a human body, Split Second isn't pretty. I've long since lost my weak stomach, but this movie is definitely not for the squeamish. [2 May 1992, p.C3]

Immediately shoots to the top of the list of the year's worst movies.

Zoom is a C-list production in every possible way, from the actors and the special effects to the music and the script. Even the product placement is completely third rate.

One could criticize A Night at the Roxbury for being a comedy that provides not a single laugh. That would be too easy.

Stevens, Fisher, Mann and Dench are all fine. All have good moments. The problem is the script, the script, the script.

While there's no blood to be seen in Supercross, the film is rated PG- 13, due to some crash scenes, a little strong language and some mild sexuality. That's a shame. This movie was tailor-made for 12-year-olds.

If Max and his "Hell" collaborators feel stymied by the summer hit "The Hangover," they'd be justified to scream to the bromance gods that someone stole their film's concept. But those guys did it the right way, bro.

You know how I realized I actually liked I Melt With You? I kept talking about it, and at one point, in the middle of mocking it, I accidentally referred to it as "a good picture." That's when I realized, yes, it really is good, albeit in ways that are different from other movies.

A horror movie that has the distinction of not even being scary... Although Koontz wrote the screenplay, the suspense for which he is supposed to be famous doesn't translate to the screen.

It's entertainment, but mild entertainment.

The monster is kind of cheap looking and not particularly scary, the gore is non existent, the acting is variable and the characters tend to make boneheaded decisions. Yet, for all of that, Shortcut does sport a certain moody charm, and at least it has the good sense, at a brisk 80 minutes including end credits, to not wear out its welcome.