Yet so much about The Lovely Bones is so skillfully orchestrated, from the chillingly methodical villainy to the thrillingly paced manhunt, we can accept that we're in the hands of a higher power.

There is such a thing as an infinitely bad movie, and this is it.

Even after all the problems are discussed, a de Palma thriller at less than full speed is as good or better than most directors can turn out with their foot to the floor. [11 Aug 1992, p.4D]

While the cast is filled with award winners, writer-director Daniel Barnz is a dunce who can't construct an argument without employing flimsy logic and cardboard characters.

An ambitious movie, but ultimately there’s too much “artificial” and not enough “intelligence.”

As a critic who complains about painless and brainless action movies, I hoist a glass of mead to the men and maidens of Ironclad.

Congratulations, visitor. You have been randomly selected to beta test an entertainment-software product called “The Internship 2.0.”

Don’t get burned by Inferno.

If you like to have your mind blown, this movie will do the job. [10 Mar 1992, p.4D]

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 such a strong cast, the film has the right ingredients but it doesn’t quite make a perfect meal.

Taking Care of Business gives little but doesn't take much away, either. It's not a film where you fret about whether everything is going to work out, and you know all the dangling strings are going to be tied in fancy bows by the end. [22 Aug 1990, p.5E]

If you’re looking for a film that’s just about guaranteed to make you feel good, you’d be well advised to drop by Daddy’s Home.

Austenland is as frustrating as a blind date with Almost Mr. Right. It’s impossible not to fixate on how close this was to being a lot of fun.

THIS may be movie-watching at its least painful. The characters are likable but flat, the script is snappy but shallow, the story is cute, the scenery pretty and the stars fetching. No brain food here. [1 Oct 1993, p.8EV]

One small step for action movies, one giant leap into the abyss of mindlessness.

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]

An airy comedy that will stimulate the boomers' nostalgic feelings and deliver a few good laughs for the kids who can't reminisce. [22 Aug 1997, p.06E]

Sure, the movie causes a few jumps. But they are the cinematic equivalent of having someone jump out from behind a door and yell boo. [23 July 1999, p.E1]

A blast, the best action movie of the summer.

During a summer with the usual transforming robots and young wizards, this chilly flick is a bit of a break, and there are worse options than letting this Orphan in the door.

I liked the first film. I found it imaginative, and I thought Paul Verhoeven's direction was fascinating. Robocop 2 is just another sequel. [22 June 1990, p.3F]

Hits most of the markers of a flashback film but not enough of the beats.

This movie comes from Disney and director Steven Brill, who brought you The Mighty Ducks. But Heavyweights has neither the action nor the emotional wallop of Ducks, though Ben Stiller tries so hard he's scary. [22 Feb 1995, p.5F]

Blank Check, which was written by Blake Snyder and Colby Carr, directed by Rupert Wainwright and filmed with grace and style by cinematographer Bill Pope, is definitely a guilty pleasure, but more the latter than the former.

Suburbicon is a flawed attempt at dark comedy, but it’s hardly the disaster that critical buzz would have you believe.

Anyone old enough to have read Jules Verne or seen the way his work was successfully adapted in the past will suffer worse than the kids in the audience who just came to laugh.

It's simply an opportunity to spend time with characters who may lack depth but are fun to watch.