Only two-thirds of this unlikely trio comes close to capturing the complexity of anguish and pain.

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

The visual effects are lovely to behold, and the songs by Bonnie Raitt, Tim McGraw and k.d. lang are fairly catchy.

Poseidon is a sodden saga, with a script that is awash in clichés. It nearly drowns under the weight of its own soggy tedium.

It's mostly smoke and mirrors. After Freeman's snooze became a YouTube fixture, the actor jokingly dismissed the nap, saying he was using "Google eyelids" to check his Facebook account. You may find yourself attempting the same feat, because Now has little up its sleeve.

Director Hugh Wilson and co-writer Peter Torokvei allow this Driving Miss Daisy with attitude to fully steep, like a cup of fine tea spiked with lemon. [11Mar1994 Pg. 01.D]

Can't quite figure out what it wants to be. At times it strains to be a stately period drama about 16th-century political intrigue. Then it devolves into soap opera muck and emerges as a rather tame bodice ripper.

It's not the grand scale action-adventure it aspires to be, but this faux epic does offer family-friendly entertainment.

Directed with care by Leon Ichaso and written by New Jack's Barry Michael Cooper, snazzy-looking Hill also covers familiar terrain. [25 Feb 1994, p.4D]

Dialogue is terse and predictable, and the sci-fi thriller portion is even less compelling than the Western saga.

The film is at its best when it focuses on the more specific conflicts of five people thrown together on Purge night.

Although there are insightful moments and surreal bits that pop, it’s overall a bizarre – and at nearly three hours, bloated – film that attempts to honor its subject and instead lets her down.

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.

Dull and unpleasant.

Kapur's stodgy style halts the momentum of young actors who have impressed in other movies.

The beauty here is in the set-up, which offers Hugh Grant a role to match his star-making turn in "Four Weddings and a Funeral."

Though he's highly irresponsible, this Alfie is not quite a calculating heel, which makes the material go down easier while blunting the point.

Easygoing and easy to take, the movie isn't much.

Farrell is quite good, though it's hard to buy the Scottish McGregor and the Irish Farrell as brothers. But mostly, the film feels rudderless, almost as if it's been directed on autopilot.

Action fans -- particularly devotees of brainless '80s shoot-em-ups -- may find enough to like here, particularly the preposterous mayhem of the third act.

Engrosses if it doesn't fully convince. [18 October 1996, p.1D]

A succession of tired race jokes made worse by the bad comedic timing of the bland, under-talented Ashton Kutcher.

Sex Drive does not fully satisfy our comic desires.

A worthy, if flawed, piece of entertainment.

This twisted romance possesses the soul and edgy atmosphere of an independent film but not quite the conviction.

Director Frank Sinatra (on screen, he's a medic) was probably going for Kurosawa-like profundity here. Unfortunately, the other actors include Clint Walker and Tommy Sands. [05 Apr 1991, p.3D]

Though the blending of archival footage into a faux documentary is occasionally clever, ultimately it's banal and unconvincing.

Starts off promisingly, then grows as lifeless as a poker face.