Travolta keeps you grooving even when the movie's motor runs down--although it has never revved too high to begin with.

It's not so much the nonsensical nature of the plot that rankles; it's the movie's wrongheaded approach to the material.

The movie made me laugh a lot anyway. It has a big, inventive cast of loons and a great premise.

Domino seemed to me the end of the world for movies--a glimpse of a future so excruciating that I'd prefer to take my chances with Hitchcock's eye-gouging avians.

I really hope Evan Almighty doesn't become a surprise hit with a niche audience (Christian, environmentalist 8-year-olds?). Too much worldly success might tempt Steve Carell away from the righteous path of making movies as dark, weird, and funny as he is himself.

Natalie Portman may have the black swan and the white swan down, but she's still working on the gray.

Mad Men is a super-stylized, not particularly realist piece of work—that’s why it can feel as mannered as theater. Are You Here strives for a more grounded tone, but, what it gains in realism, it gives away in psychological acuity and emotional oomph.

The first hour is evocative and creepy...But once the trajectory is clear and the squeamish New York intellectual Quaid has to stand up and fight for his homestead, the boringness seeps into you like the damp.

Great(ish) ideas and terrible ones sit cheek by jowl, original notions and blatant thievery corralled together with no discernible logic. It’s a horror movie one moment, a comedy the next, as if Netflix were streaming several different titles at once.

The state of mind brought on by Speed Racer the movie is more akin to that phenomenon by which young infants, exposed to more stimuli than their systems are equipped to handle, will simply shut down.

Bizarrely depressing.

In the hierarchy of things that creep into your house, the tooth fairy ranks somewhere beneath Santa Claus and above the Formosan termite.

Aeon Flux is not that terrible. It's certainly more fun than a lot of films that get lovingly showcased.

If you get caught between the moon and New York City--or even just between two movies at the multiplex--the best that you can do is skip this one.

Emminently skippable.

A New Legacy is much slicker and more appealing than the original Space Jam, in no small part because James is approximately 50 times the actor Jordan is. But it’s also because corporations handing a bag of unrelated IP and ordering screenwriters to come up with a story around them is the template for most studio filmmaking now, if not all of contemporary existence.

Michael Caton-Jones' pompous and coarsely stupid inflation of what remains a superior thriller, Fred Zinnemann's The Day of the Jackal (1973).

Half inspired and half eye-rollingly terrible.

Beckinsale is an elegant woman—before she was the Emma Peel of the undead, she was Jane Austen's Emma, and before she was Emma, she was passing A levels in German, French, and Russian literature—and all her stalking and seething keep the movie from being totally unwatchable.

Sex Tape, conversely, is as timid, bland, and predictable as romantic comedies come — though it’s a hard movie to hate entirely.

I suppose you could say the film made me slightly more likely to play one of the games, but only because I’d do just about anything before I saw this movie again.

I will hold against him (Shyamalan) that Lady in the Water isn't scary, that its own inner logic breaks down at countless points along the way, and that its ending is disappointingly literal and just plain stupid. Lady in the Water is, however, funny at times, even intentionally so.

Probably the most horrifying stuff I've seen all week.

It underscores the gruesome legacy of Saturday Night Live in American movies...They haven't liberated screen comedy, they've left it neutered--or, should I say, Spade.

Unfathomably awful.

Duncan Jones must have believed there was an incredible movie in his head. If there was, it’s still in there.

Venom wants to be something different, an off-kilter dark comedy whose protagonist doesn’t need to be cleaned up so he can fight alongside Iron Man someday. But it’s also terrified to step out of line, and the stench of fear overwhelms whatever wisps of fresh air have sneaked through the cracks in the doorway.

Jumper not only makes the rules up as it goes along; it neglects to tell us what those rules are, which is both unfair and unfun.