Pregnant with possibility; it's the delivery that disappoints.

It's a triumph of streamlined design, but TRON: Legacy never enters the fourth dimension where it's worth a plugged nickel to humans.

Hitchcock is an amusing lark, but the clumsy way it dissects the director is for the birds.

Ultimately, what saves this movie is its sense of humor, not to mention its good humor, which is not the same thing. You find yourself rooting for these characters, although at times you wouldn't mind giving them a little slap up side the head. [18 Feb 1994, p.3F]

The charismatic cast can’t be faulted. Bullock and Blanchett are more than credible as crooks, and Hathaway is delightful as the self-absorbed Daphne. Unfortunately, Ocean’s 8 turns out to be a poor showcase for their talents.

A high-concept comedy that peddles some slapstick laughs and life lessons but little insight.

While the rich people who violated a dead antagonist's wishes seem sleazy (especially when they refuse to be interviewed), transporting world-class artwork five miles to a bigger facility where more people can enjoy it hardly seems like the end of civilization as we know it.

I still think it's a funny movie, but given its genes, it's a bit of a slacker.

FALLING FROM GRACE, the acting and directing debut of rock singer John Mellencamp, may not quite be solid gold - but it is a solid first effort. [21 May 1992, p.3E]

While the plot is as flimsy as a hooker's halter top, it's buoyed by two actors with attitude and timing.

The settings and supporting roles suggest that If I Stay started out as someone’s passion project, but the final product only requires its star to sleepwalk through buckets of schlock.

It's almost offensive that Danny Glover is relegated to playing the mysterious old confidante who haunts the same fishing hole as Cal. By the time Glover's character delivers the homily, Legendary is pinned to the mat.

Toys may be beautiful to look at, but it's hard to love. [18 Dec 1992, p.1G]

As long as Hollywood keeps hitting us over the head with empty spectacles like G.I. Joe: Retaliation, regular Joes will be too numb to fight back.

Decent performances from Emilio Estevez and Denis Leary can't rescue this movie from its weak screenplay and predictable story. [21 Oct 1993, p.7G]

All in all, it's better than your average boy-meets-girl techno-thriller - but only just. [30 May 1995, p.5D]

The best thing about Renegades is a beautifully choreographed car chase early in the movie. After that, the movie creeps along for 20 minutes or so while the two principals grope toward buddyhood. Then, with bonding accomplished, the action picks up somewhat, but never really catches fire. [07 Jun 1989, p.3E]

With stingy portions and plenty of filler, Magic Mike XXL is the worst sausage party ever.

The most rewarding way to watch Water for Elephants is to focus on the sideshow of costumes and craftsmanship, because the romance in the center ring smells like trained animals going through the motions.

There's a fascinating story here for a bolder filmmaker, but after so much meandering it's a relief that "All Good Things" must come to an end.

Because we don't know or care much about the characters, this Israeli film never fulfills its potential as either an absurdist comedy or a humane drama.

All that complexity backfires at about the midpoint, leaving viewers with a standard yarn about a popular guy who makes a grossly insensitive wager after his trophy girlfriend drops him. After that, it is all a case of "been there, done that." [29 Jan 1999,p. E3]

’Round these parts, when a movie promises a million laughs but only delivers a dozen chuckles, that’s a hanging offense.

CRAZY PEOPLE is a one-joke movie. It's a pretty good joke: Slightly unbalanced people write ads that tell the absolute truth about products, and the products sell like crazy. But it isn't good enough to make us care for long about a mental-institution romance between Dudley Moore and Daryl Hannah that has the feel of ''David and Lisa: The Sit-Com.'' [13 Apr 1990, p.3F]

Hearts and Souls is an only intermittently entertaining reworking of an ancient Hollywood formula. [13 Aug 1993, p.5F]

A B comedy so forgettable that although I know I saw it, I was equally sure that Fred MacMurray was in it. (He wasn't.) But over time, movies - particularly Disney comedies - tend to acquire a hazy, nostalgic charm. [10 Nov 1995]

An odd mix of special effects, cartoonish adventure and father-son bonding isn't very funny or poignant. [20 Dec 1998, p.C9]

Here, Dan Aykroyd mimics the original voice, but the three-dimensional CGI isn't loose and lively enough to compensate for the unimaginative story.