Done in by its tone.

Although Body Snatchers is a competent genre piece with Freudian fillips, there's little there to justify another go-round for what is by now very familiar material.

A smart but disappointingly conventional portrait of an artist who had little use for convention.

The film delivers some genuine laughs — Diggs and Anderson are a hoot throughout — and real rapper Snoop Dogg all but steals the picture with his brief voice turn as Ronnie Rizzat.

This genial little picture, which has been kicking around for more than a year, doesn't have a mean bone in its body.

The real irony is that for all its integrity, the film isn't nearly as thought-provoking as Steven Spielberg's recent "A.I. Artificial Intelligence" or "Minority Report", and nowhere as entertaining.

"Saturday Night Fever" with designer drugs and duds.

What should have been an important addition to popular films about women's rights winds up being the most insulting courtroom drama since "Ally McBeal" was put out of its misery.

In all, it's fairly harmless, tolerably sentimental and mildly entertaining: just the thing for the kind of holiday afternoon when you've had way too much of your relatives.

If director Brad Silberling had taken this cast to their natural extremes, he might have delivered a raucously funny sci-fi comedy -- think "Anchorman" meets "Jurassic Park." Instead, Land of the Lost is an utter misfire -- not bad enough to hate, not good enough to remember.

When the average comedy is aimed at juvenile 12-year-olds of all ages, the fact that Russell's target audience is precocious 12-year-olds of all ages is a significant improvement without actually being a triumph of mature wit over boorish puerility.

One of the most frustrating films of 1990, an epic without epic scope, a muted, strained, unnatural affair that never comes into dramatic focus.

John Sayles' screenplay never takes itself seriously, so the badinage is relaxed and often funny, avoiding the ponderous.

The movie's low budget shows, but the competent (many of them also sitcom veterans) cast keeps things moving smoothly.

Swinton lends Margaret an air of grace under pressure, and fleshing out feelings of domestic dissatisfaction -- a key element that otherwise remains buried in the subtext.

What is grating is the filmmakers' perennial tendency to underestimate their audiences; their lack of faith leads them to drive home each nuance with a hammer.

This sequel to Alfred Hitchcock's classic is surprisingly good. In Psycho II, Norman is a victim of crazed people who insist on persecuting him and, as a result, seems incredibly sane by comparison. Unfortunately the end to Psycho II contradicts this development, turning Norman into a leering loon in preparation for another sequel.

Extremely well-shot espionage thriller that might have worked as an old-fashioned guy's-guy movie if the guys involved had any real, human personality and the espionage were actually thrilling.

Sally Field has actually made a likeable movie.

The film makes a noble attempt to present history in a realistic, nonheroic light, but Hudson is done in by a dull script and some ludicrous (curiously unrealistic) casting (Pacino as a Scot, Sutherland as a Brit, and Kinski as an American).

It's a shame to see such dedicated performers flay their psyches in the service of such fundamentally shallow material.

The story is told with uncharacteristic restraint and benefits from fine performances by Nelligan and Hirsch.

Still odder is the movie's sexual worldview, which is simultaneously infantile and fetishistic. Boys wear rubber, lipstick, and spandex, but don't seem to have a sexual bone in their unmuscled bodies.

Mildly amusing and as obvious as it is good-natured.

The film delivers lots of high-pitched hysteria but never manages to make its spoiled protagonists interesting.

With its flashy, music-video style edits, rock-scored montages and septuagenarian cast, it’s hard to say who, exactly, is the right audience for this unusual comedic drama.

The result is a gracefully plotted spy film in the classic mode, with just enough self-consciousness to keep things interesting.

The all-too-vivid simulation of terrorist attacks, including a prolonged scene of a building collapse in which people are seen plummeting to their deaths and crushed under falling concrete, may strike a very different chord with post-9/11 American audiences.