Flimsy little comedy unworthy of its portentous title.

This frenzied fiesta of firepower is about cloning people for spare parts, but the movie is a clone itself. Possessing no new ideas, it reworks and borrows from such films as "Blade Runner," "The Matrix" and "Logan's Run."

It's an improvement on some of Perry's other films that strike a heavy-handed moralistic note. And it lacks the silly slapstick humor of his Madea movies.

It fails to live up to its early promise, mostly because of an uneven tone and murky character development

A stylistically fastidious, exasperatingly affected package that will put most people in the mood for slumber.

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

Rather than being an entertaining trainwreck, the finale nihilistically undermines all the good and thoughtful stuff that came before, doing the couple dirtier than they ever could to each other.

As funny as it can be, this underdawg comedy isn't much more than Sandler's golf-oriented "Happy Gilmore" with a Cajun accent. [6 November 1998, p. 10E]

Aspires to be epic, but mostly it's just unfocused, sprawling and badly in need of editing.

It's so predictable, you can set your watch to when the bulimic will sneak away to the bathroom.

Such overkill might seem like an asset to teenage boys (and those who think like them). The rest of us are better off not wasting our Washingtons.

This remake is shorter than its predecessors, a welcome earthly reward.

On both technical and conceptual levels, Bamboozled is a movie that will leave Spike Lee fans bewildered.

The story, an updated version of the 1951 classic about a portentous extraterrestrial visit, feels musty and derivative, and not only because it's a remake.

Hellboy's cheeky attitude and snarky dialogue, specifically Perlman's snidely funny lines, are the highlights.

Though Imagine That's message is benign, its adult focus is off-base, and every move feels too familiar, formulaic and telegraphed.

Has ambition and style in spades – and thankfully, a plenty sassy Ryan Reynolds in the form of a little yellow rabbit-y dude – even if the quasi-noir private-eye tale is rather uninspired on the whole.

Writer/director Chris Columbus (Mrs. Doubtfire) delivers his usual slapstick and sap shtick, but the sitcom-slick results fall flat. (It's also based on a French farce - bad sign.) [12 July 1995, p.1D]

The thin premise here seems better suited to a sitcom episode than a full-length feature. That's not surprising given that director Mark Mylod's résumé includes British TV comedies and "Entourage" episodes.

White Bird in a Blizzard is blank, pale and flat when it needs to be probing and suspenseful.

It borrows from "Animal House," "Back to School," "Old School" and other superior films, leaning less into crudeness and more into female-centric laughs, but offers some sweet moments and a few enjoyably zany characters.

The movie grows progressively more routine in quarter-hour increments, eventually collapsing under the weight of its own insignificance.

Despite the hype, this horror story can't shake its run-of-the-mill storytelling.

Silly as it was, the first movie had a more innocent and campy spirit than this calculated, if faithful, redo.

There's a lot to talk about but so much outrageousness that the end effect is wearying and not a little absurd.

Missing are well-choreographed action scenes, likable characters and involving plot twists.

Stone is competent, if not commanding; as neighbor lovers, she and Baldwin have less chemistry than the Taster's Choice coffee couple. [21 May 1993, p.1D]

Deception is not the cool, noirish thriller it tries to be. Despite a cast that includes double-crossers Hugh Jackman and Ewan McGregor and Michelle Williams caught in the middle, the film is a yawn.