Overproduced and essentially charmless.

Everyone is well cast and no one more perfectly than Freeman, who is far more God-like than George Burns ever was. Freeman's God is wise, humble, wry, patient and funny but never mean-spirited.

Woody Allen is good for his funniest screen romp in a while, thanks to a few evenly spaced standout scenes of laugh-out-loud intensity.

Becomes exceedingly disgusting when it wallows in the psychological torture of a child, a no-no under any circumstances.

Through most of the movie, the former star of the Harry Potter movies sports an impressive set of curling ram-style protuberances that bring to mind a character in "Pan's Labyrinth."

While “Folie à Deux” embraces a heightened, even cartoonish quality in continuing the story of Phoenix’s troubled soul, Phillips really misses a chance to go full musical and do something truly different. Just dipping its toes in that genre, with those strong performers, is enough to drive you mad.

A movie about a teen party gone horribly wrong, would be every parent's worst nightmare if it weren't so inane.

There is a blessed dearth of dialogue, but much of it is unintentionally hilarious.

Ultimately, Beerfest plays like a party that's gone on too long, when the buzz has worn off and the hangover starts to set in.

The Break-Up is not comical or romantic, and it's certainly not a date movie. Sitting through it is almost as painful as going through the demise of a relationship.

It's a quintessential movie hybrid: a romantic thriller with exciting high-speed chases, brisk comedy and exotic scenery.

Fashioning a hybrid of a courtroom drama and a horror film that is suspenseful and scary requires a clear vision and directorial finesse. Rose lacks both. But the performances are topnotch.

A breath of fresh air amid the superheroes, aliens and bombastic explosions of summer.

There’s a refreshing whiff of whimsy and playful originality to writer/director John Krasinski’s big-hearted fantasy.

The movie is repetitious in some ways and superficial in others. But though Penn doesn't always seem to know where he's going, his movie doesn't altogether miss its destination. [15 Nov 1995, Pg.05.D]

Connery fares better as a medicine man here than he did in Medicine Man; but Beresford was a better director in Africa with 1991's Mister Johnson. [09 Sep 1994, p.8D]

Full of love, Spaceballs is full of laughs; after 13 years of screen disappointments, Brooks has almost delivered another Young Frankenstein. May the box office be with it. [24 Jun 1987, p.1D]

Tolerably tepid.

Sure, take the young'uns. But don't be surprised if movie time turns into nap time. [6 July 1990]

Perhaps there's a legion of 10 and unders who don't know The Bad News Bears from the Care Bears. If so, they're the likeliest candidates to sit through this junior-high Slap Shot, a peewee- hockey riff on the sports-underdogs-make-good scenario. [02 Oct 1992, p.4D]

The music is the uncontested highlight of El Cantante.

Yes, yes, it's Liar Liar 2.

Storywise, it’s a solid if overlong tale of family and redemption – fans of “Yellowstone” or “Horizon” will find stuff to love. Where “Rust” stands out is in its look, a gorgeously shot production with an emphasis on contrasts and dark colors that’s a testament to the talents of Hutchins and fellow cinematographer Bianca Cline.

Makes one long for Martin's edgy work in films such as "The Spanish Prisoner."

Though not as engaging as "Knocked Up," there is enough humor to keeps us entertained.

Thinking isn't going to do anyone a bit of good during Blue Streak. Turn off your brain instead and you might enjoy it.

It's an innocuous, occasionally cute movie made watchable by the appealing Mandy Moore and hunky Matthew Goode, a Brit who has a bit of Hugh Grant charm in an otherwise silly role.

Clumsier hands could have planted this load of pungent sap and come up with sticky fingers. But the creators of this based-on-truth fable carefully cultivate the material so it comes off fresher than it sounds.