If you call your movie this, you’re kinda asking for it. Some rules should apply. For example, characters should make a little sense, so when they behave in “unpredictable” ways, we can tell. But Warren Beatty, back in the director’s chair after 18 years, has gone rogue.

RSVP: Decline with regret.

Unlike the smarter "Maleficent," a revisionist Sleeping Beauty created by the same producers, what The Huntsman series lacks is any intriguing psychology.

Most of this is blandly palatable, at least for the first half. Cyrus, though she seldom strays from her two primary modes, pouting rebel or toothy girlfriend, has a winning on-screen presence, if only for her enjoyably abrasive edge in this deep well of pathos.

Halfway through, everyone starts drinking heavily and the film turns into agreeably sloppy fun. (Isn't that always the way – class reunions often perk up when someone spikes the punch.)

The Dark Crystal sees through a dark crystal: There is much to marvel at, but there is much that is obscure, and much that may not be there at all. [17 Dec 1982]

While Lawrence doesn't come close to the fireworks wit and satire of Pryor in his postfreebase-accident film, "Live On The Sunset Strip," his riveting story saves Runteldat from becoming just a routine slapped on the big screen.

So, fans, gear up for rock-em-sock-em action, yet don’t be disappointed if much of the goonery seems a bit tepid and, dare I say, staged.

OH DEAR, what grade to assign The Rachel Papers? Hmmm, seems this is a British coming-of-age flick that turns out to be a whole lot like the U.S. coming-of-age flicks we've seen a whole lot of. Sure, better cast, earthier language, niftier accents, but the same paint-by-number formula punctuated by the same tacked-on "be true to yourself" moral. Heck, let's be generous: passing, barely passing. [12 May 1989]

Director Carl Reiner has put it together so that the character (hardly) ever becomes boring, and the Martin-Carl Gottlieb-Michael Elias screenplay has just enough genuinely witty moments to keep the story rolling past its flat parts. What more can anyone say? If you like Steve Martin, you'll love this movie. If you don't, you'll laugh sometimes but wish you'd gone elsewhere. [17 Dec 1979]

Park is busy treating every frame like a runway model, dressing it up in self-conscious layers of cinematic haute couture. It’s gorgeous to gaze upon but otherwise dessicated – listless, juiceless and ultimately pointless. For all his exemplary camera work, there’s no motion, or emotion, in the picture.

This time, Tykwer somehow manages to turn Eggers’s attempt at an era-defining story into a weird little cross-cultural comedy with romantic overtones while remaining largely faithful to the original plot and dialogue. Here, globalization’s economic devastation is just a nice backdrop for some amusing – and, thankfully, inoffensive – observation of one American abroad.

The effect of so much pretension and so many lovely images eventually becomes soporific.

Though by no means a good movie, The Internship floats along for fairly well for about half its length, thanks to the easy interplay between the two stars and a certain melancholic topicality.

A so-so remake of the low-budget 2010 film "Ghost from the Machine" that comes off as run-of-the-mill paranormal thriller. No electricity, one might say.

Damned if this sugary confection doesn't come with a creepy crust. the odd sense that these aging boomers, ever eager to stall the march of time, are competing with their own daughter in the maternity sweepstakes - I'll see your child, and raise you one. [8 Dec 1995, p.C1]

The problem is not that the director is working but that his latest film is working too hard. Way too hard – this thing is melodrama running a marathon.

If you have kids who are easily frightened, bring them to Alpha and Omega, a 3-D movie with training wheels. Kids may not like it, but they'll never fall off the ride.

It’s ultimately difficult to wade through the muddled plot line, or plot lines, rather, as there are so many disparate storylines contending for top billing in this movie.

This is the reliable raunch-plus-sweetness comic formula that goes back through the Farrelly brothers, Adam Sandler's comedies, "Revenge of the Nerds," "Porky's" and "Animal House."

Unfortunately, The East is not a very good movie, hobbled by an excess of plot, a lack of believability and big gaps of logic.

A tart-coated sugar pill of a movie.

Call the film sensitive or tender all you want, but one thing it doesn’t have is nuance

Washington's take on the seductress is so saucy, so unapologetic, such a brash blend of insouciant charm and raw sex appeal, that she swipes the picture from right under its nominal star. The only problem is that her theft inadvertently tips the balance of the moral dilemma, shifting it seismically all the way from "He'd be a fool to succumb" to "He'd be a coward not to."

This material might make for a sly, subversive take on the genre, but writer-director Tyson Caron positions Dash as the hero of his story, a fatal flaw.

It is a paint-by-numbers Holocaust movie, scrupulously balanced, always cautious, occasionally clichéd, often sentimental.

Jawbreaker breaks ground in one way. The movie is notably unpleasant, not just because it's morally offensive, but because it strives for this arch, artificial John Waters tone without any accompanying pay-off in wit.

This entry has been described as a “cousin” to the other movies. Specifically, The Marked Ones is a Hispanic cousin, customized for Latino audiences in the United States where the series is particularly popular.