The performances are more interesting than the convoluted plot. [24 Apr 1992, p.26]

Danny Strong’s film, which stars Nicholas Hoult as Salinger...isn’t terrible; it’s just one of those period films that never catches a spark — you find yourself admiring the elegantly lit rooms and the meticulous 1940s costumes, rather than becoming immersed in the drama.

Ultimately, however, the film belongs to Turner and Quaid, whose obvious pleasure extends to Shaw and especially Tucci, who after playing really nasty villains for years reveals some heretofore unknown comedic flair.

Miscast and nervously directed. [11 Oct 1996]

The film’s bleached colors and Reeves’ trademark woodenness add to its emotional remoteness, though Basso, Zellweger and Belushi create a convincing family in crisis. Zellweger, especially, delivers a fascinating, complex performance as a damaged survivor.

It’s all good, goofy fun; make it an air-conditioned double feature with “Mamma Mia! Here We Go Again” and you might just have the very definition of “summer movies.”

Ultimately, it’s a wild experiment that mostly falls flat.

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

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]

Even viewers put off by the old Hanna-Barbera animation style may want to give this one a chance. The figures are as bland as ever, but the computer-enhanced universe they inhabit couldn't be more lively. Light, goofy, fun to watch, it's a perfect summer movie for the little kids and the adults who accompany them. [6 July 1990, p.20]

The Mighty Ducks hasn't got a single fresh idea in its 100 fluffily formulaic minutes, so it's surprising that the film is quite easy to enjoy. [02 Oct 1992, p.27]

It isn’t “Working Girl” — Second Act is more earnest and less funny — but it’s a pleasant enough diversion, helped along immensely by Lopez’s warm screen presence and by a first-rate Sassy Best Friend performance by Leah Remini.

Judgment Night is almost completely lacking in conviction and originality. But Leary does a fair Dennis Hopper imitation, Gooding does his best with an insulting role, and the ending is witty enough not to give us the undying villain it leads us to expect. [15 Oct 1993, p.D27]

It’s bland and forgettable, and director Falcone still hasn’t figured out how not to sabotage his supporting cast (why hire the hilarious Chris Parnell if you’re not going to let him be funny?), but it’s a movie a lot like the presence of McCarthy herself — there’s an inner sweetness that shines through.

Originality was on vacation when this picture was made.

Cameos by Mel Brooks and Whoopi Goldberg add nothing, and there's not much of a storyline to stitch together the gags. [05 Aug 1994, p.E3]

Shanley demonstrates a fresh, giddy talent for visualizing his eccentric comedy ideas. [9 Mar 1990, p.20]

Director Michael Cuesta and a platoon of credited screenwriters have dutifully checked all the usual spy-thriller boxes but bring nothing new to the party.

The plot is so filled with inconsistencies and lapses in logic, especially during the desperate concluding reels, that it's difficult to take seriously its proposition that some people are born evil. [24 Sep 1993, p.D12]

Only the super-speedy Flash, played by Ezra Miller, lightens up the proceedings. Miller’s goofy eager-beaver take on the character, very reminiscent of Tom Holland’s Spider-Man, is the picture’s saving grace.

A more disagreeable collection of cynical, backstabbing, self-aggrandizing, shallow, vicious and vile specimens of humanity gathered together in a single motion picture would be difficult to conceive of.

Kids will likely be diverted by the colorful excess of A Minecraft Movie, but fans of the game may feel it misses the mark. More creativity, please.

That Unforgettable is watchable, at least before it disintegrates into generic violence near the end, is due to the touches of wit in the directing, and to the two lead performances.

Although it's got a skeletal plot lifted from such comic books as "The Punisher" and lasts in the memory about as long as a Life Saver lasts on the tongue, there's something about Sniper that grabs your attention and holds it, loosely but firmly, with just enough Adrenalin to keep your pulse just a beat or two above normal. [29 Jan 1993, p.23]

Lesser actors would have drowned in the muck, but these two almost sell it.

It’s colorful. It’s predictable. And also quickly forgettable. Genuine wonderment is in short supply in Wonder Park.

Unfortunately, everyone's trying too hard to recapture the original's wry tone, and Culkin lacks the gawky, impish charm that Billingsley brought to Shepherd's childhood alter ego. [06 Jul 1995, p.E1]

What began as a feature-length toy commercial instantly disintegrates into MTV fodder. [22 Mar 1991, p.24]