In dashing Indiana Jones style, Eckhart gets to be a hero.

Maze Runner feels only partially formed.

Genial and well-intentioned, but tepid.

The only death at this funeral was that of a good movie.

A badly constructed, blood-spattered caper that comes unglued early on.

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.

It may sound like a Peter Pan spinoff, and Dear Wendy does involve lost boys in a stagey setting, but the film is closer to "A Clockwork Orange" than a tale of lasting youth.

This is Johnson’s baby, a film spotlighting a complicated antihero he has championed for years. It wins some battles and packs plenty of punch, yet it just can’t get past familiar tropes and flaws.

When it comes to comedies about pregnancy, "Knocked Up" and "Baby Mama" delivered more. This sitcom style exercise in planned parenthood is blandly predictable. If it were a cheese, it would be Velveeta.

Those who feel a kinship to this brand of corn, dig in. The rest should head for the hills. [15 Oct 1993, p.5D]

In the canon of comic-book movies, it's not as campy bad as the "Batman" starring George Clooney, but nowhere near the caliber of the Spider-Man movies or "The Dark Knight." It may have more style, but it's only a jot more entertaining than "Catwoman."

The ending stinks.

It's tough to think of another child-adult pairing in a long screen tradition with so little emotional kick.

Casting, in fact, is Rob Roy's dominant virtue, a hedge against its overlong 2 1/4-hour running time and some initial reluctance to get rolling. [7 Apr 1995, p.01.D]

Has less substance and depth than its title.

True-blue Ford keeps 'Clear' out of danger. [3 August 1994, p.D1]

This B-list thriller portrays air crews as inept, at best, and callous and cruel at worst.

A little bit of charm is precisely what this movie has to offer. A small dose is better than none, but you can't help wishing there was more to go around.

Circle has a wit and warmth that makes something as glibly contemporary as Reality Bites seem trite and toothless. [15 Mar 1995, Pg.06.D]

Turns out to be a tepid thriller that promises more than it delivers.

A soulless spectacle.

Dumas' perennial story demands stars of stature or wit - components missing from this candy-bar wrapper of a movie. [12 Nov 1993, p.4D]

The dialogue is clichéd and laughable. It's a film far more concerned with style - architectural, vehicular and wardrobe-related - than substance.

White Boy Rick works better as a working-class father/son drama than a cautionary tale about the American judicial system, though it never comes together satisfactorily as either.

A darkly disturbing melodrama anchored by some powerful performances.

The flashbacks, functional at best, aren't really the problem. Interminable one-on-one dialogues between the two male leads are. [7 Apr 1995, p.03.D]

Moviegoers are stuck with this sci-fi thriller's bland story, murky cinematography and frenetic special effects.

The movie is a by-the-numbers action film that's not nearly as strong as its Damon-led predecessors.