Go see Won't Back Down and enjoy it. Just don't believe it's anything more than a stacked deck with a lot at stake.

Withnail and I is one of those pictures that manages to be consistently amusing and grating at the same time. It stirs some good memories while pointing to the aimlessness of an era. [2 Oct 1987, p.5D]

Some ideas simply work better on book pages, rather than on film where illogic is exposed.

While the movie's technical aspects are first-rate and Stallone manages more than a monosyllabic performance, Over the Top can't overcome its sense of deja vu or provide any reason for Hawk's suitability as a parent. [14 Feb 1987, p.5B]

Transcendence is a movie without villains, thrills or, after Nolan fanboys show up, much of an audience.

Director Alan J. Pakula generates a degree of suspense, even though the story's implausibilities and overall stupidity of Kline's and Mastrantonio's characters are stupefying. Everyone in this movie is a prig, including a frail E.K. Marshall as Richard's defense attorney who doesn't believe his client's innocence and Forest Whitaker as a private eye who lets Richard do the investigating. [16 Oct 1992, p.5]

Every decade needs a nonsensical sci-fi space oddity - a Barbarella or Buckaroo Banzai - to keep the underground element amused. Tank Girl should keep the Internet clicking for a while, with its imposing strangeness and violent pop-apocalyptic action. [1 Apr 1995, p.2B]

So-bad-it's-fun. [6 March 1992, p.5]

Silver wrote The Hand that Rocks the Cradle as a graduate thesis at the University of Southern California film school, and the movie's derivative nature shows it. The Hand that Rocks the Cradle has the viciousness of The Stepfather. DeMornay's live-in nursemaid recalls Michael Keaton's malicious tenant in Pacific Heights. The entire picture stinks of Fatal Attraction, a movie that begins as an ethical exploration and ends as a mad slasher movie. [10 Jan 1992, p.5]

The movie's only constant pleasure - heck, the whole franchise's - is Eugene Levy as Jim's dad, widowed and wondering if it's time to date again.

The first half is nothing but silly setups for a stretch run that admittedly has its moments of wacky pandemonium, just not enough.

The plot, dealing with aliens infiltrating our world, still made as much sense as it possibly could, and the special effects guys really don't go to work until the last two reels. [31 May 1996, p.8]

Miami Blues is reminiscent of Demme's Married to the Mob and Something Wild. It has a superb sense of place. It savages Middle American tackiness. Regrettably, Miami Blues is even more mainstream and less developed than Married to the Mob. Its characters' lapses of logic and the holes in Armitage's script require a forgiving audience. The blood-letting at its conclusion necessitates a strong stomach. [20 Apr 1990, p.19]

There is nowhere logical for the story to go since it wasn’t intended to run this long. Sex is everything in this movie because nothing emotional or thrilling registers beyond the moment.

The terror of Sept. 11 feels like little more than a dramatic hook, an easy way to make audiences cry. Oskar and the event defining him deserve better.

Ain't no mountain high enough, no plot valley deep enough, to keep Idris Elba and Kate Winslet from setting off romantic sparks in The Mountain Between Us. But this movie surely doesn't do them any favors.

Office Christmas Party contains enough lunacy from McKinnon, Bell and Vanessa Bayer to nearly recommend, then enough lame plot threads, Rob Corddry and Olivia Munn to reconsider.

MacLaine keeps things interesting, snapping off one-liners with precision that comes only through experience.

The Three Musketeers circa 1993 is diverting enough for the non-discriminating moviegoer, but for the real deal check out the '70s classics. [12 Nov 1993, p.5]

Fury reeks of self-importance, a strange arrogance for a fictional World War II drama drenched in more blood than ideas.

Flipper is a nice movie, a safe movie for Saturday matinees, but it isn't very exciting or entertaining. [17 May 1996, p.5]

The Intern is a movie outmoded in style and strangely retro-sexist in spirit.

Pawn Sacrifice tells a fascinating story in unspectacular fashion, resulting in a draw.

The junk in Lucy doesn't entirely eclipse the moments when weird is fun.

A movie as slight as Fluke shouldn't be expected to draw gasps and cooing at the drop of a plot twist. [02 Jun 1995, p.9]

Once impressive, the special effects seem dated now. [15 Nov 1991, p.18]

At some juncture — much earlier than director Gareth Edwards intends — Godzilla needs to stop being an extra in his own movie.

It’s so respectful that vibrancy suffers. Coco is a bright pinata of a movie that breaks and nothing falls out.