The computer animation of the monsters here is a herky-jerky cartoon blur that is anything but scary.

Crass materialism and ridiculous marketing ploys are skewered by writer/director Derrick Borte in this uneven cautionary tale that starts off incisively funny, then devolves into preachiness.

The visionary filmmaker's psychological thriller weaves a too-complicated tapestry.

For director/co-writer John Carpenter, it's a chance for career renewal. For eyepatched lead and co-writer Kurt Russell, it's a fitfully amusing lark, a harmlessly retro career move and a second audition for any future Rooster Cogburn parts. [09 Aug 1996, p.3D]

Another one of those high-gloss treatments of domestic strife that want to have it both ways. Sitcom-slick, melodrama-edgy.

A gentler adjunct to the dumb-buddy craze that's mostly inoffensive, save for a gratuitous bong-smoking scene. [31 Mar 1995, p.4D]

Lumet remains a great director of actors, one of several reasons why this very iffy movie grabs you - up to a point. [27 Apr 1990, p.9D]

The over-the-top survival thriller definitely fits into the aesthetic of Hollywood’s August burn-off period, where bad (and so-bad-they’re-good) movies reign, though Elba’s charisma goes a long way in terms of enjoyability as do some hair-raising animal attacks.

It's a silly good time, and that's something these days.

Has strong performances, but the story takes too long to get off the ground. And once it does, it is told in a way that occasionally drags and goes off in meandering directions.

A clunky-if-earnest comedy about a literal band of misfits led by a singer who never takes off his mascot-size headgear. Ever.

Anchored by a topnotch ensemble cast, it's toe-tapping holiday fare that's also a potent reminder that family resentments and hardened hearts serve no one.

The best thing Life After Beth has going for it is what star Aubrey Plaza calls its "zom-com-rom-dram" premise. And the clever wordplay of its title.

Kilmer seems less dangerous than Morrison, but it's a blessing in the most uncompromising bio of a please- don't-move-next-door type since "Raging Bull." [01 Mar 1991]

The movie version feels like a stately, but watered down, episode of "Masterpiece Theatre" fused with "The English Patient."

Delivers diverting comic fluff for the bland clan's fans. [23 Aug 1996, p.8D]

A showcase for Vince Vaughn's rantings and Owen Wilson's standard but affable chum act.

If Sandler felt compelled to take on a role immortalized by Gary Cooper, at least it wasn't as "Sergeant York," "Lou Gehrig" or the sheriff in "High Noon."

The film never gets to the heart of Nobbs - a woman who lives as a man. She comes across as more of a sad, clownish figure than a flesh-and-blood human, playing her emotions so close to the vest that it's hard to care about this stoic character.

The material doesn't consistently do justice to their talents, but the movie is worth seeing for their chemistry and for the Motown-infused soundtrack.

Has its moments - but far too many of them. It runs two hours and seems to end five times.

Clunkily stagebound but gorgeous to look at in VistaVision and Technicolor. [07 Oct 2005]

A lot of cinematic ineptitude and moral turpitude can be forgiven in the final 40 minutes, when Halicki redeems his movie by staging one of the greatest car chase scenes in history -- one without much, if any, fakery. [01 Dec 2000, p.8E]

Doesn't shed much light on the fragile and enigmatic writer whose myth has nearly obscured the real woman.

But there is a satisfying, old-fashioned "Moonstruck" sensibility at work, one that will be appreciated by folks who like their beef corned and their movies cornier.

If you can believe Serendipity's cockeyed conceit, you may find that discovering this escapist love story feels like a lucky accident.

Director Ry Russo-Young’s drama does manage to smartly dig into the real-world consequences of bullying and arrive at a provocative conclusion by having its main character live her final day on Earth over and over until she gets it right.

This sweetly enjoyable family film stars the endearing Abigail Breslin as Kit. And, refreshingly, it's actually about something -- the Great Depression -- and tackles such serious issues as prejudice, poverty and homelessness.

The jokes often are corny or labored, and the story is predictable. However, Atkinson raises the movie to the level of good fun by the force of his outrageous persona and skill at physical comedy.

A well-acted and attitudinal action movie, a return to Ritchie's trademark "Mockney" style, which takes amusing and twisted turns.

The plot is predictable and the dialogue often sticky sweet, but at least kids will identify with Stuart's desire for adventure and exploration.

There's nothing wrong with fairy tales, but they don't have to be formulaic. A movie like this would have benefited from a blending of the fanciful and the inventive.

Coraline is a plucky heroine, and director Selig's imagination is indisputable. But the story falters in parts, and its dark tone could be off-putting for children.

Though there's nothing wrong with moral outrage, it doesn't always aid the telling of a complex story. More subtlety might have worked better.

Hardly fresh, but it never stints on energy or vivid colors.

While there are moments where this drama, about a pair of mothers hellbent on improving their children's education, is compelling and deeply moving, the film gets mired in heavy-handed cliches.

Neither as funny and scary as the first, nor as campy and breathless as the second, Alien 3 can only settle for third best. Considering the state of sci-fi movies, that may be enough. [22 May 1992, p.12D]

The film ultimately lets Mirabelle down and leaves the viewer dissatisfied. A "Lost in Translation" drained of its wryly observed humor, Shopgirl is worth a browse. But it isn't always easy to buy.

Flies II improves as it progresses, especially in the surreal, fireswept climax. But overall, it seems like an afterthought. [16 Mar 1990, p.4D]

While it's an energetic romp, there is more slapstick humor than wit at work here, and a good deal of borrowing from the far more clever "Monsters, Inc."

If you rely on films to keep your kids entertained and distracted for an hour and a half, Meatballs is a masterwork, a visual stunner that manages to break from animation's current 3-D rut.

For a movie that generally delivers the goods while you're watching it, mild irritants abound. Arachnophobia is soft at the center, but at least it won't traumatize (and thus repel) the mass audience. [18 July 1990, p.1D]

Though it features witty dialogue and good performances, the plot contrivances keep it from being an altogether winning enterprise.

The script's clichés have nowhere to hide.

The movie meanders without a rudimentary sense of the dramatic, yet it remains intermittently interesting thanks to a surprisingly voluminous cast of usual suspects from the world of independent cinema. [14 Aug 1996 Pg.09.D]

Hampered by over-earnestness and tugs too intently at the heartstrings.

While the jokes are obvious and the romance formulaic, a good-natured sensibility saves the film from being too hokey. The individual parts may not work, but the sum remains entertaining.

May not make you howl, but it does offer a few bona fide belly laughs.

Even by today's horror standards, Destination has some ghastly scenes. After seeing them, parents may want to reconsider letting their daughters try gymnastics or laser eye surgery.

Until it cools off some with a full half-hour remaining, Tequila Sunrise packs the solar heat the credits and premise promise. Yet a three-quarter success does a good Mel Gibson movie make - even if his co-stars steal it. [2 Dec 1988, p.1D]

Drawing upon "Wag the Dog," "Dr. Strangelove" and "This Is Spinal Tap," this sardonic tale is adapted from the critically acclaimed BBC series "The Thick of It."

Despite two strong lead performances and a welcome dose of female empowerment, this somber tale feels too familiar and formulaic.

The Jacket is a confused attempt at headiness that feels like a poor man's "Memento."

At its best in comic mode, more effective as goofy spoof than horror show.

The story, while sometimes soaring, is other times grounded by a hyperactive and numbing vibe. But Henry Cavill has the strapping good looks of the comic icon, and humanity to match his superheroism.

Pleasing piffle.

With Butler’s stellar portrayal, it’s never dull, and more enjoyable than not. The musical numbers are often dazzling, boosted by Luhrmann’s inimitable style. And the plot (for better and for worse) covers a ton of Presley’s life. But even when it’s over, you’re still not sure what Hanks is doing.

The story keeps reinventing itself (some of the later plot twists are among the funniest), but a little goes a long way at 112 minutes - maybe 25 minutes more than this sporadically pointed conceit really needs.

The third installment of the Night at the Museum franchise, Secret of the Tomb, is better than its predecessors, funnier and more adventurous, thanks to a visit across the pond to the British Museum.

This incarnation is funny, quirky and clever, with some mesmerizing action sequences.

Overall, it's a gently bittersweet and affecting portrait.

Especially strange: A gimmicky cameo by an actress who outclasses all previous goings-on.

Glee the TV show has become a cult phenom with three essential ingredients: whip-smart kids, adult-sized issues, all blended to sugary pop tunes. About a third of those components made it into Glee: The 3D Concert Movie.

The movie unfortunately gets stuck between edgy drama and broad comedy, and most of the humor lands with a thud.

The result is another middling comic-book adventure for the fan-favorite Spider-Man antihero that leans kooky and earnest and even saps some of its title character’s bite, though does give the snarling Venom a new aspect: a big baddie daddy.

If you can imagine a relatively solemn take on this theme, RoboCop 2 is it. Though Irvin Kershner's direction is competent, there's not a whole lot of eye-twinkling in evidence. [22 June 1990, p.2D]

The movie version is simply a poor adaptation, trading the vibrancy and refreshing spirit of the original show for all-too-familiar teen-movie angst, with an out of place leading man.

There's nothing very rockin' about seeing Gene Hackman give a rare indifferent performance as a Navy admiral trying to effect a rescue for which his hands are tied.

A less-than-middling melodrama whose subject matter and talent never click as much as its credits portend.

There's, say, a 20-minute stretch where this slapstick works; there's also a subplot about N!Xau's lost children (cute, but shruggable), and a real pace-killer involving two rival soldiers. Uys' shots often fail to match, and the monotonic narration really grates; it drones on like a junior high science film on plant blight. [16 Apr 1990, p.9D]

Not without some stupidly funny moments.

Brothers never catches fire the way Gilliam's "The Adventures of Baron Munchausen" did. And you almost feel during subpar special effects that sweaty stagehands are pushing the trees around.

The sad fact is Williams is at his best while trapped in Andrew's original sleek form. His performance is subtle, his reactions restrained. The more Robin is exposed, the more ham is served.

30 Minutes or Less is "Pineapple Express" gone sour.

Renegades is a dumb idea - undercover Philadelphia cop teams up with Lakota Indian named Hank - but it's smartly executed, and this gives it some interest. The movie evolves from urban thriller to ersatz-suburban Western, climaxing with a big shootout at a punk's deluxe ranch. [02 Jun 1989, p.6D]

Dance Flick occasionally hits its mark with nimble execution. But too often it stumbles clumsily into bad taste.

Isn't smart enough to cut it as the ultimate blond joke. [25 April 1997, p. 4D]

Hangover II marks one of the most derivative sequels of the year: The opening and closing scenes are taken almost shot-for-shot from the original. Just substitute Asians for Americans, gross-outs for guffaws.

Despite haunting moments in this fabricated fling between a headstrong Native American and an English sea captain, the film isn't as chirpy or majestic as recent Disney fare. [16Jun1995 Pg. 01.D]

A hopeless if harmless boxing picture whose principals just happen to wear uniforms outside the ring, Annapolis is set in a U.S. Naval Academy where no one ever seems to attend class.

An awkward blend of fable, travelogue and relationship drama, it's the story's hybrid style, vapid message and predictable arc that disappoint.

There's nothing super about the movie, aside from a loopiness that affords it a certain guilty-pleasure cachet.

Soderbergh's homage to film noir and wartime thrillers, is technically stunning but narratively and thematically hollow.

Ghosts can't make up its mind whether it wants to be a racy raunchfest or a sentimental celebration of soul mates. So it ends up being a sappy, sleazy hybrid.

While Van Peebles' ambitions are epic-size, his results, sad to say, are less so. This is one messy Western omelet - highly edible but overscrambled. [14 May 1993, p.3D]

A few chuckles will be had by both the rabble and more learned brains.

Hits its silly stride early and never shifts into a higher gear.

This is for those who like their political thrillers far-fetched, far-reaching and filled with pretty people.

For those who don't equate sexual appetite with the intricacies of fly fishing, Nymphomaniac: Vol. 1 is more tiresome than titillating.

The considerable talents of a strong supporting cast, which includes Chiwetel Ejiofor, Liev Schreiber and Andre Braugher, go untapped. The only distinguishing feature to this by-the-book thriller is Jolie, who gets pummeled as good as she pummels.

Ron Howard has taken an intriguing page-turner of a story and re-shaped it into a bloated wannabe epic.

An all-star slow-burn mystery for much of its 102-minute runtime until it suddenly decides to become a vomitous reveal-fest doling out all its twists as fast as possible. A storytelling choice, for sure, and one that wastes a talented crew of actors and fails to pay proper homage to the old-school films it references.

The combination of the two showcases fun chemistry and antics, although surrounded by a formulaic narrative that action junkies have all seen before.

While the plot strives to be a raunchy-clever sex farce, it feels more like a leaden repurposing of Airplane with drunken pilots, mile-high dalliances and dancing flight attendants.

But director Jodie Foster and writer W.D.Richter aren't content to serve the usual Planes, Trains and Cliches at their Thanksgiving feast. With her keen actor's instincts, Foster piles on plenty for her terrific cast to chew on and for us to savor. [03 Nov 1995, Pg.01.D]

The movie, though, is more of the same: another current comedy with want-to-see elements that fails to deliver the goods. [01 Jul 1992]

The humor, largely centered around bodily functions and bathroom habits, is almost exclusively sophomoric.

Bewitched does have a few laughs, thanks to Ferrell's antics. And some of the wittiest contemporary comedians are on board, notably "The Office's" Steve Carell and "The Daily Show's" Stephen Colbert, but they are underused.