The problem with Men isn’t with the acting. It’s with a script that could be described as attempting at something like arty horror and can’t stick the landing. Often it is tedious, slow to build and pretentious.

There are some sweet kisses (otherwise, it’s very chaste) and some nice declarations of motherly devotion (credit to Williams for doing her best) but the cheese factor is regretfully high.

Overly long, bombastic and poorly focused.

It’s a basic format that’s been trotted out for plenty of reboots before. But aside from its frequent stabs at self-referential comedy, “Scream” proceeds with a dull repetitiveness.

Overall, it’s just not so good, so good.

This limp, half-hearted, breezy remake makes some modest improvements. The film, directed by Calmatic, bounces to a hip-hop beat and the gameplay action is smoother. But the drop off in personality from that original trio is like going from the Lakers to the G-League.

Ham-fisted and simplistically drawn. [11 July 1995]

Yes, the cinematography is what stands out here. There are also several compelling performances, though Baldwin’s somewhat halting, somber turn is not among them.

Actually, Muppets From Space doesn't offer much for adults, either. The normally smart, endearing characters can't save this movie, which begins with a flimsy premise. [12 July 1999]

You’ve played Pokémon Go, right? Call this one Pokémon Don’t Go.

Old Guy feels very of this moment in the fact that it looks good and has a good cast and yet can’t seem to deliver something that’s either entertaining or meaningful. But unlike so many of its peers, this one amazingly was not made by a streamer.

This sequel may be focused more on emotion and character — since the whole comet thing happened long ago — but the problem is, none of this is compellingly rendered, and is forgotten when convenient.

But there is nothing erotic in the coupling between Willis and March, who repeatedly took off her clothes in 1992's "The Lover" to much greater effect. The movie is tepid as a thriller, too, since it's not hard to guess the killer's identity and motive. What's worse is that you don't really care about either, though it is fun to see Willis menaced several times by a red - get it? [18 Aug 1994]

Me Time somehow squanders a solid premise, a stacked cast and a seemingly unlimited budget. It didn’t need to be anything great in this movie comedy drought we seem to be in. But considering who was involved, it really should be better than it is.

It should surprise no one that a movie marketed with creepy smiling fans at MLB games might not actually have genuine concerns about pain and healing on its mind. But it still makes “Smile” a cynical and shallow piece of work unlikely to put a you-know-what on too many faces.

Look, we hate to break it to you, it’s not going to end well for many of this privileged set, as they hunt whoever is hunting them. Coherence is also stabbed a lot because a clear motive for the mass murder is really hard to understand.

For how reliant this movie is on screens and keeping Pratt alone, one might assume that “Mercy” was a socially distanced, COVID-era leftover instead of something made in 2024.

A curious new animated attempt to monetize the comic icon again by giving him an origin story and then asking him to do things a galaxy away from what he does in the funny pages.

The story is not only derivative of so many other dystopias and kids with power sagas, but, and perhaps worst of all, it never even really gets going — a clear and infuriating set up for some future installment.

The biggest problem of My Favorite Martian: It lacks an edge. Its promising approach - sort of a Three Stooges meets Close Encounters - never gets off the ground. It tries to bite occasionally, but is so concerned with remaining a kid-friendly movie that it keeps sinking into pablum. [11 Feb 1999]

It's a rather insipid rendition of the Alexandre Dumas classic destined to stand in the shadow of earlier movie versions. Oddly enough, this Disney version of the rousing novel leaves a final impression somewhere between lifeless and bland.

Oyelowo is the one who comes off without a scratch and actually has some quite amusing moments (he has a great, high-pitched scream and solid comedic timing). If only the movie was a better showcase.

There's very little plot in the movie, just an excursion through the growing pains of some very plastic characters. The script by Schumacher and Carl Kurlander is more a character outline than a screenplay because there simply isn't enough meat to flesh it out. [8 July 1985]

The one bright spot is Cena, who is quite good. Like his character, who goes above and beyond to adeptly play Ricky Stanicky, Cena really and truly commits and brings a kind of unexpected depth and pathos to Rock Hard Rod. He’s flexed his comedy muscles before and should again, soon. Is it enough to save the movie? Not for me.

The situation might have produced a funny, heartwarming movie, but not in the hands of director Bob Clark ("Porky's," "Rhinestone") and writers James Gregory Kingston and Denis and John Hamill. Every plot turn is predictable, the characters are either true-blue or rascals and the humor is labored. [18 Feb 1985]

The Nutcracker and the Four Realms is visually marvelous, inconsistently acted and rather incoherent in that fantasy genre way.

If Eastwood had extended the sensitivity it shows to Jewell to others, it might have been worth something more. Instead, it becomes just what it preaches against: a hatchet job.

Made in America has a deficit problem - it's a comedy with woefully few good jokes, a leading man and woman with a serious lack of chemistry, and a plot that has as much credibility as a campaign promise. [27 May 1993]