It's off in many directions - false in its details, false in its relationships, false in its emotions - but probably the first and worst thing that needs to be said about it is that it's also overlong and dull.

The narrative is clumsy, and the monster scenes are ridiculous, but not ridiculous enough to be funny, just ridiculous enough to be boring.

If you loved the earlier films, these are moments you will hold on to, but they're very few, and they're not enough.

Seems more appropriate for a science museum than the Metreon, but that's not the film's problem. The problem is that oceanic movies in actual science museums are far more interesting and nuanced than this documentary.

The update is a different kind of failure, too much endless and not enough love.

The good news is you can bring the kids. When it comes time for swimming lessons next summer, there’s nothing they’ll remember from this that’ll make them afraid of the water.

All that said, this movie is likely review-proof. The franchise is doing just fine without critical approval. This one is less of a slog, but there is precious little interesting or new in Jurassic World Rebirth. It’ll likely earn a billion dollars anyway.

It's astonishing what little impact even the most imaginatively choreographed and well-filmed aerial escapades can have when they're presented as neither an expression of a character's personality, nor in the context of a compelling mission.

An action movie has to be taken on its own terms, and on its own terms The Perfect Weapon still amounts to a 90-minute bore. [16 Mar 1991, p.C3]

I hated this film. I hated every minute of it, and at times it even made me angry.

It's a plodding, episodic film, reverent and sanctimonious, and its pro-Southern viewpoint -- a time-honored Hollywood tendency -- makes "Gone With the Wind" look like a Northern polemic.

It's standard slasher fare but has its moments.

Unfortunately, Stuart Baird's direction is so sluggish and Jim and John Thomas' script so padded that Executive Decision has no build. Instead of focusing on the mechanics of suspense, the film concentrates to a boyish extent on mechanics, period.

The movie’s overall aura of cheapness, the cast of unknowns and the half-baked theology all call to mind the low-budget horror of the 1980s.

The only thing good to say for The Forest is that Dormer is interesting, that she creates a different vibe and essence for each sister, and that it would be nice to see her in a better movie.

The film is a plodding 2 ½ hours long, with an abundance of livestock gore, endless dental trauma and a violent sex scene.

So there’s nothing here to see, except maybe the white dress that Vergara wears in her first scene.

Feels so moldy and out of date.

This clumsy, self-indulgent film veers from comedy to tragedy and is told in flashbacks, with treacly diary entries and unconvincing "testimonies" from friends providing a window into the past.

So many horror conventions are at work in After.Life that either the filmmakers are parodying them or couldn't come up with anything better. I'm betting on the second choice.

Director Stephen Chbosky needed to bring this stage musical into greater balance with the film medium. He needed to make Dear Evan Hansen less grandiose. He needed to pick up the pace and chop 10 minutes from the running time. It’s still possible that wouldn’t have saved it, but it might have made it less awful.

One reason why “The Conjuring: Last Rites” is so uninteresting is it takes one hour, 21 minutes for the Warrens to agree to enter the haunted house that we all know they’re going to enter from minute one.

Sin City: A Dame to Kill For is still a visual buffet, but adding 102 more minutes of double crosses, slow torture and hookers with hearts of gold just exposes the tediousness of the exercise.

The exception is Willis as Spike. He's got more energy than the rest of the cast combined.

If The Creator were any more slanted, any more in the tank for the coming AI onslaught, you would think it was produced, written and directed by AI.

The best thing in the movie is Peter MacNicol as Dana's boss at the museum, a slippery character with an incomprehensible accent. [16 Jun 1989, p. E1]

For all its hip, rat-a-tat dialogue and a sharp photographic look that give Wall Street a feeling that something exciting is happening, the movie's a bankrupt deal. [11 Dec 1987, p.E1]

It’s the kind of torment you can wish on your worst enemy without feeling too guilty, not something to inflict permanent damage, just two hours of soul-sickening confusion and sensory torment.