The Getaway gradually devolves into just another high-polish shoot'em-up between half-baked characters. Led by Baldwin, everyone's acting so cool they're prit'near frozen. [11 Feb 1994, p.D24]

Despite the miscasting of the central role and quite a lot of lackluster dialogue, the story proves again to be almost foolproof. The fight sequences are explosive, the physical production is impressive, and the supporting performances are full of juice.

Even the heavenly chorus that’s working overtime on the soundtrack can’t drown out the lack of chemistry between Howard and Pratt. And the movie too often defaults to people running around screaming — which is, to be fair, the backbone of this franchise, but it gets awfully old here.

It’s pretty. It’s empty. It’s pretty empty.

Horror comedy, alas, is a tricky balance, and making a movie dance on a unicorn’s horn is trickier still; this one clearly needed a little more unicorn dust.

Almost nothing works here.

Perhaps in an effort to tell a PG story about an all-ages storyteller, Te Ata lacks vitality, pulling its punches and sometimes resorting to a cheesy shorthand. (A scene featuring Greene’s reservation leader and a racist senator is especially cheap.) Despite that, Te Ata lingers in the memory as a tale of an artist’s promise — and fulfillment.

An entertaining movie that, while lacking real substance or stellar acting, hints at themes to which we can definitely all relate.

There’s gunplay aplenty here, but nothing about “The Kid” sets it apart from the many Billy the Kid movies that have preceded it.

There is absolutely nothing new under the many suns in Besson’s universe. This is a voyage not worth taking.

Director Hill usually makes rough 'n' ready films about men in action ("48 HRS," "Extreme Prejudice"). His change-of-pace 1993 Western, "Geronimo: An American Legend," caught many off guard. "Wild Bill" continues to exhibit this maturing filmmaker while retaining the boisterous tone of Hill's earlier films.

Skyscraper, which lacks the lunkheaded charm of “Rampage,” isn’t the ideal vehicle — its special effects are murky (I saw it in 2D; it’s probably even muddier in 3D), and a bit of wit wouldn’t have been unwelcome. Nobody in this film has a personality; they’re just evil, stoic, mildly badass (particularly Neve Campbell, as Will’s resourceful wife) or The Rock.

It’s a haunting, heartbreaking story, told by a movie that never quite makes a case for itself to exist.

With intelligence and great moviemaking skill, [Reynolds] has created a classic variation on a venerated ancient theme.

While the first “Grinch” I will always adore It’s possible that there’s still room for one more. Hearing the Who’s sing their songs to the skies — It’s still movie magic, whatever the size.

Much of the time, for all the leering effort she puts into portraying this demonic tease, Barrymore just seems to be playing dress-up. She also needs a more responsive co-star than Gilbert, who gives a one-note performance in the part that should be at the story's center. [29 May 1992, p.18]

The film feels long and slow, and the subject matter familiar. We never quite get caught up in it, despite the appealing cast; a thriller directed at a snail's pace simply isn't very thrilling.

Burton’s command of this material and his masterful visual sense makes this Dumbo an engaging delight. Like that winsome elephant, it really does soar.

The film starts off a bit rocky, as the story elements are established, but gets better and funnier as it builds, leaning into the craziness as the dominoes fall into place.

Like Bernadette, the movie’s lost; you’ll need to read the book to truly find her.

There must be dozens of film buffs out there with an unsatisfied hankering for Cinemascope Westerns. It's too bad, then, that Quigley Down Under fits the label, but doesn't deliver the goods.

Overall, the film is sweet but often loses impact in its most serious moments by blasting a happy pop soundtrack.

The premise of accountant as action hero might seem absurd, but The Accountant makes it credible and fascinating.

This isn't a B-movie, a C-movie or even a Z-movie. In fact, there isn't a letter far enough down in the alphabet to cover Popcorn. [01 Feb 1991, p.22]

Only Omar Epps ("Juice") locates substance in his role as the freshman underachiever who must fight for his starting position, but even he's in service to the uninspired "Program." If someone wanted to make a good, exciting, serious film about the ups and downs of college football, why didn't they just make a documentary about the Huskies? [24 Sept 1983, p.D19]

It's an easy-going respite for the audience, thanks to the familiar and instantly likeable cast - also including "Darkman" director Sam Raimi as the camp's slow-witted handyman - who slip into their roles with effortless charm. Writer-director Mike Binder is generous to each character, and the ensemble occasionally clicks with the casual comfort of enduring friendships...But the film is ultimately too sentimental, sluggishly paced and naggingly insubstantial, with cute, jokey dialogue that betrays Binder's background as a stand-up comedian, setting up scenes that exist only to arrive at a punchline. [24 Apr 1993, p.C8]

Every once in a while a simple, formulaic plot is elevated by a good cast and energetic direction, and Sister Act is an irresistibly entertaining case in point. [29 May 1992, p.18]

The dialogue, the violence, the humor (largely provided by Grant’s character) and the intricacy of the storytelling make for a picture in which most everyone in it seems to be having a great deal of chatty, bloody fun.