What we have here is a standard-issue comedy-tinged crime thriller indifferently directed by Tim Story (the “Think Like a Man” and “Ride Along” movies). Its nothing-special plot, the product of writers Kenya Barris and Alex Barnow, features ill-defined villains and briefly touches on Islamophobia and military veteran PTSD and drug abuse — and never follows up on any of those issues.

Unfortunately, King Arthur is somewhat less compelling than the "Lord of the Rings" movies; there's serious intent here, but an often thudding execution.

Leitch’s emphasis on excessive and nearly nonstop stunt-filled action is hardly surprising. His lack of directorial discipline, however, is. The guy apparently couldn’t help himself, piling on the action beats until they become numbing. By the end, you’re more than ready to get off this Bullet Train, feeling drained and disheartened.

In Rudolph's own scripts there's usually a foundation of whimsy that somehow balances out his acid-edged commentary on human follies. Here, there's only a standard murder-mystery plot that cheats on its ending and an East Coast locale where funny accents and hairdos are the real victims. [19 Apr 1991, p.25]

There’s such a thing as something being too personal. James White is that thing.

Ricochet is gruesome, contrived and often laughable when it's trying hardest to be thrilling. But the exaggerated antagonism between the two central characters keeps it from becoming dull. [05 Oct 1991, p.C3]

Weaver’s Kay is a fanatic.

Everything, Everything is watchable and not unpleasant, in its moony way, thanks to the chemistry of two leads, both of whom exude a genuine sweetness in the face of an absurd plotline.

You don’t really watch Suspiria, you endure it.

Strange movie. And despite the presence of Tina Fey playing its lead character, a cable-TV reporter named Kim Baker, it’s not a funny one.

As funny as this movie sometimes is, it could've been much funnier, ironically enough, if it had taken itself more seriously. [29 Apr 1994, p.D34]

Despite promising elements of mixed-genre thrills, the film is finally the underwhelming sum of too many plot devices.

The picture is part slapstick comedy, part tearjerker, but the mixture rarely works, and sometimes it's actively irritating.

What makes The Resurrection of Gavin Stone singular is its fresh and thoroughly modern approach to evangelical Christianity.

The uneasy marriage of clunky psychodrama and overwrought special effects along with the fact that none of these characters are particularly likable make Strange World a chore to sit through.

McTiernan may have no peers when it comes to action thrillers. But in this character-propelled story, he sorely needs a lighter touch. [07 Feb 1992, p.24]

The emphasis here is on the splashy spectacle with those insider-knowledge elements jammed together in a frenetic hodgepodge.

If you plan to build an entire movie around a whining boor, his whining should have some accuracy or wit. His boorishness should at least suggest complexity, some motivation beyond the obvious. [09 Sep 1994, p.H32]

You can see why McAvoy was drawn to the role — it’s as if he’s playing every character in a very populated if not particularly well-scripted play — and he demonstrates a shellacked creepiness that’s effective. But Shyamalan can’t find much else that’s new or appealing in this overlong girls-in-peril exercise.

This flick isn’t a masterpiece, not even a vulgar one, but it’s cheeky and entertaining enough in its giddy hyperviolence, thanks almost entirely to the star turn of Josh Hartnett, who has proved in his recent renaissance that he’s especially great in bozo mode.

There’s nothing original in the movie. Indeed, the off-screen controversy that’s been consuming social media lately over the casting of pop superstar Styles and whether Pugh and Wilde are at odds overshadows the movie itself.

You know, there was a time when “Guardians of the Galaxy” was fun. That time was 2014, when the first picture came out... Now here’s “Vol. III.” And it’s no fun at all.

Blackboard Jungle created this genre (and most of its cliches) more than 40 years ago. 187 doesn't add much more than outrage and resignation. [30 Jul 1997]

The picture’s ultimate destination is marked with an obviousness so bright it can be seen from space.

The story has its possibilities, but inauthentic detail and uncertain directorial tone undermine it. [18 Jan 1991, p.23]

The first-rate cast — right down to that infant, who displays Streep-like instincts for the camera — toils mightily. But sadly, they’re trapped in what becomes a sort of A-list Nicholas Sparks melodrama Down Under.

Try to remember this movie, a few days after seeing it, and you’ll find that — like magic — it’s disappeared.

Fan service all the way with this one, though it would have benefited from less slam bang and more humor. However, fans will probably love it.