It’s a rather impressive feat to bury Tom Holland’s considerable charisma, though that is one of the few aspects where his new film “Uncharted” actually succeeds.

The Chamber merits some respect for daring to be gloomy, for facing the capital punishment issue head-on and for the quality of Gene Hackman's performance. [11 October 1996, p.1D]

There will always be an audience for the escapist rewards this type of movie always dangles.

It's never enough of a grabber to keep the mind from wandering to the romance it apparently sparked.

Mediocre terrorist melodrama turned even punier by real-life events, and that's before we scratch our heads at its lead-actor choice.

Moore and Ford rise above the hackneyed story, infusing the proceedings with their own chemistry and appeal. If only the adults responsible for this film could learn how to deal.

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]

It's a shame the aliens are so preachy, because this remake of the 1956 and 1978 versions of Invasion of the Body Snatchers features a top-notch cast in Nicole Kidman and Daniel Craig and moments of unnerving terror.

Though entertaining, Spurlock's lighthearted approach doesn't work as well here.

The Greatest raises compelling questions about how parents continue on after the death of a child.

Saldana is in top form for the acrobatics required in the role, and she makes the gritty determination of her character believable.

Doesn't quite live up to the billing, but it improves mightily on the original. And the superhero family can thank its new addition for the upgrade.

A better effort than Batman v Superman: Dawn of Justice and a worthy follow-up to runaway hit Wonder Woman, Justice League does the DC icons proud with some high-profile additions and a strong if unspectacular effort full of fun character moments.

It is in many respects the best installment of the franchise as its stars go from sullen kids to sullen young adults, where their expressions look more natural.

Movie stardom is seductive, but 50 Cent and his fans will be best served if he sticks to to his day job.

Firewall might be worth renting on an inclement weekend when the pickings are slim. It does have some tense moments - even if some of the technical plot points don't quite scan. But, overall, it just feels like a rehash.

Far-fetched, flimsy and uninvolving.

Two films in one: an intriguing child-disappearance mystery and an uncommonly affecting domestic drama realized by four terrific central performances.

Were the material not so thin, it would be even more fun than it is seeing Fiennes get to be loose on screen for once. He's pleasant, but we never feel this guy could get elected. Whenever he smiles, Fiennes brings to mind the title of Disney's deluxe new DVD: "The Complete Goofy."

Kline is one of the rare major actors not afraid to look like hell. And given his character's plight, his willingness to get physically unpleasant matches the emotion he brings to the part.

A dreary poke-along adaptation of the Angela Sommer-Bodenburg children's stories.

Valiant is voiced by Robots' Ewan McGregor, an actor apparently no longer in a "Trainspotting" mood.

Not as incisive a political commentary as "Thank You For Smoking," American Dreamz lampoons the public's appetite for mindless entertainment and easy distraction from serious concerns.

While the sound design and spooky minimalist music add suspense, and CGI effects are duly sinister, a climactic strobe effect is more annoying than frightening.

Bogged down by speechifying and a plodding pace, Miral is well-intentioned but doesn't achieve the searing emotional resonance suggested by the story.

Here's how it goes down: 4 is better than 3, about the same as 2 and worse than 1.

Gator-filled swamps, an ultra-grungy murderer, racial undertones and a sexually charged atmosphere make up the tense and lurid world of The Paperboy.

Colorful. [1 December 1995, p.D13]

Sniper offers slow-motion close-ups of bullet trajectories for action, plodding for nearly two hours. Berenger may wonder if Zane has the stuff to pull his trigger, but I prayed for someone to pull the plug. [29 Jan 1993, p.4D]

Despite its ultra-formulaic premise and juvenile sense of humor, there are a few laughs, and the movie's heart is generally in the right place, with the notable exception of racist characterizations of an Arab prince and Japanese businessmen.

A brilliant idea that seems to lack the vision to be great.

Squanders the opportunity to give us a telling glimpse of the woman behind the ruff. Instead, the costume drama is all gilt and opulence.

It's déjà vu all over again. There isn't much more to say about "We Own the Night 2." Oops, make that Pride and Glory.

The latest picture to give you the sense that Hollywood filmmakers simply plucked another old pop-tune title ripe for ripping off, then were shaken by the rude reality of coming up with a script to jerry-build around it.

The first half of Taken 2 is a serviceable action flick, but the second half descends into cliches.

A rote variation on Mark Twain's The Prince and the Pauper that is marginally salvaged by those spunky Olsen twins from ABC's Full House. [17 Nov 1995]

Despite Murphy's campaigning, Gentleman deserves a veto. [04 Dec 1992]

Rhythmically, athletically and energetically, Step Up 3D does not disappoint.

Recapturing magic proves elusive -- or maybe the late Darren McGavin was just irreplaceable -- in an OK follow-up to 1983's beloved A Christmas Story. [11 Aug 2006, p.15D]

It's almost impressive when a movie can manage to be both repellently vulgar and sickeningly sweet in the span of a mere two hours. Almost.

Has plenty of fast cars and revving engines. But unless you're a fan of that sort of thing, its stultifying plot and wooden acting is likely to make you drift - off to sleep.

Each twist and turn is so telegraphed and expected that the story feels wan and the comedy feeble.

What works in a quirky foreign film can look silly with expansive Hollywood treatment. Crowe is smart enough to know this, so it's baffling he chose Vanilla over richer cinematic tastes.

For a story that centers on intrigue in high places, the few even halfway-grabbing scenes come from the mild if unexplored sexual tension between co-Caine sleuthers Tilda Swinton and Jeremy Northam.

Though it's no fiasco -- there's nothing mythic about its disjointed story -- it is a failure.

Parents may be pleased, children will cheer. But it's too bad the movie turtles have had to sacrifice their snap, victims of a box-office shell game. [22 Mar 1991, p.4D]

Half a howler but not nearly funny enough.

Delayed a couple of years, shown to fans at conventions and retooled, Fanboys is an uneven and largely predictable adventure, but it has its moments.

Lively pulls off one of her best movie roles so far – ranking up there with her surprisingly delicious shark flick “The Shallows” – and is surrounded by plenty of visual spectacle, yet is waylaid by a narrative that lacks excitement. Even the twists seem painfully ordinary.

If She-Devil is (at best) ragged, it's also a must for Streep fans. [8 Dec 1989, p.1D]

It fumbles because neither of the characters are particularly likable.

These characters are interesting for their flaws and wounds, but the movie doesn't delve deeply into the sources of their pain. See this movie for its humor and talented cast and you won't be disappointed.

With Bonham Carter's been-there, done-that performance and a plot that spins out of control, we end up with a movie that you can't quite sink your teeth into.

Whereas last year's exemplary "Sexy Beast" seemed to revitalize the British gangster movie, this equally brutal outing merely sustains it -- though with occasional twists that do linger in the memory.

Mixed with the sleaze is the unexpected and occasionally inspired.

A good script is the most essential ingredient for a good movie. Hiring a comedian isn't enough.

Speaking of that middle-finger finale, there is one redeeming trait: At least it signals the end credits.

While teenage star Mckenna Grace infuses the aging property with a needed burst of youthful energy, co-writer/director Jason Reitman (son of original filmmaker Ivan Reitman) is more interested in looking backward with the sequel, leaning way too hard on old characters, story beats, plot points and zingers.

The film tries to be stylish and slick, but is mostly just nasty and blood-drenched. Piven, so funny in other film roles and on TV's "Entourage," overdoes it here, and extended scenes of his debauchery grow excessive and thuddingly dull.

There's nothing sleazier than sleaze that fails to titillate, and this drab blight on a hot cast is as sleazy as a preordained hit ever gets. [07 Apr 1993 Pg. 08.D]

Except for a brief episode in which singer Chris Isaak and Kiefer Sutherland make like an FBI Rocky and Bullwinkle, this is a morbidly joyless affair. You'll feel as drained as one of Cooper's mugs of joe watching homecoming queen Laura drown in a whirlpool of sex and drugs. [31 Aug 1992]

But once the updated story - now about an unwed mom who sacrifices all for her child rather than a divorcee who married above her class - starts clinging to the original's plot machinations, Stella turns into one helluva maudlin mess. [2 Feb 1990, p.4D]

Country Strong feels powerfully familiar.

Per usual, Johnson is the key cog of a movie built for his physical presence, but it's the relationship between Davis and George that fuels the plot, even when everything around them gets convoluted and haphazard.

Sadistic mess of a movie.

This boomer-coddling comic fantasy, in which a callous adult on the brink of 40 has a chance encounter with his pudgy, lisping 8-year-old self, is an iffier what-if.

By the time you've given up guessing whether S.W.A.T. wants to be a half-serious action pic or just affably jokey, its storytelling has turned so ludicrously melodramatic that it doesn't matter.

How to lose an audience in 10 minutes: Cobble together a predictable and forced romantic comedy that should have been funnier.

The threat may be as illusory as the thrills in Jonas Brothers are contrived. But that won't stop Jonas junkies from enjoying their magical mystery tour.

Ultimately the story of Jay Moriarity, who died tragically in a diving accident at 22, is a moving one, and he deserved a better tribute than this film.

The sentiments here are thoroughly semper fi, but the result occasionally works at cross-purposes.

It's an intriguing movie, and Thornton's performance is both fascinating and maddening.

Of course, The Rock looks the part, though with a headband and buckskin, he'd also look like Tonto on steroids.

At least Necessary Roughness strays from the usual game plan, but it ends up strictly Bush league. [27 Sept 1991, p.2D]

Long, lumbering, pretentious and for some a possible laff riot. [23 Dec 1994]

What might have been an entertaining, silly comedy opts for pseudo-earnestness over movie magic.

While it features three strong performance and the debut of a promising filmmaker, the story line is obvious and rather melodramatic.

Is this a comedy, action pic or sensitive Belushi-Harris romance? Director Rod Daniel never establishes a definitive tone, though he comes close in the scene where James Brown's I Feel Good hits the sound track after some canine fornication. You don't need a dog to smell this. [28 Apr 1989, p.4D]

An insightful, sharply written and unsettlingly amusing exploration of the darker elements of masculinity.

School for Scoundrels will only leave you scratching your head in bewilderment and might possibly shave off IQ points.

Lacking in originality.

A sluggish, tedious film about lost souls living dead-end lives in a dead-end town. Their actions often defy rationality.

The last half hour is filled with cheeseball visual effects, B-movie monsters and Banks — by far the most enjoyable aspect — hamming it up the best she can.

Joyful Noise seems tailor-made for an audience of churchgoers and "Glee" devotees.

Feels as desperate and static as being trapped in a traffic jam.

Like "Blazing Saddles", A Million Ways to Die in the West has a slew of comic set-ups and one-liners that kill. And, as with Mel Brooks' classic 1974 film, it steps unabashedly into vulgar terrain.

The Love Punch is a romantic comedy as painfully unfunny as a sock in the jaw.

This is a noisy, sadistic and just plain dull rendering of a too-often-told tale about a mysterious drifter who rides into a lawless outpost and pits rival gangs against each other. The plot, based on Akira Kurosawa's samurai classic Yojimbo, isn't so much dusted off by writer/director Walter Hill (Wild Bill) as propped up. [20 Sep 1996]

The script is so bereft of real surprises that it's best to keep the lid on what few there are.

It is tough to fight off the ennui created by this comedy.

Flimsy little comedy unworthy of its portentous title.

It's an extravaganza worth seeing once -- and maybe later on DVD.

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

Boorman's troubles usually come from going over the top (atop Exorcist II, there's always Zardoz). But this is one of his few misfires that almost anyone would call tepid.

The werewolves have it all over the blood-suckers in The Twilight Saga: New Moon. When these oversize, hirsute creatures burst onto the screen, they inject life into a rather inert story.

While it looks great with its gorgeous computer-generated foliage and realistic animals, the story focuses too much on its stiff hero and a one-note villain rather than the big-picture ideas it raises in passing.

Given its predictable story, the only reason to see Stomp is for the rhythmic step dancing.

The satire is surprisingly tepid.