Besides the inevitable devious government types, there are anemic subplots about a fanatical priest and an abused mother and child. Let's see. This is your brain: MMMMMMMMM. This is your brain watching The Lawnmower Man: ZZZZZZZZZ. [6 Mar 1992, p.4D]

Phenomenon is a fantasy about super-intelligence that works best if you can switch off your brain. Those who can will reach weepy nirvana. Those who can't will find this sticky-sweet wallow a bit, well, dumb. [03 Jul 1996 Pg.01.D]

Renegades is a dumb idea - undercover Philadelphia cop teams up with Lakota Indian named Hank - but it's smartly executed, and this gives it some interest. The movie evolves from urban thriller to ersatz-suburban Western, climaxing with a big shootout at a punk's deluxe ranch. [02 Jun 1989, p.6D]

Dramatically empty Norse warrior adventure.

If anything, Grant seems to be getting funnier, and he now has the ability to elevate material the way another Grant -- Cary -- did.

Even the special effects alone aren't worth the price of admission.

[Kidman's] Lifetime-esque potboiler centers on a bored working mom who discovers her husband might not be on the level, but while the locale is postcard idyllic, the narrative is a never-ending slog, only getting halfway interesting with a silly third-act twist and a suddenly bloody finale.

Let's just say that if you loved Dana Carvey in Opportunity Knocks, you'll thrill to Taking Care of Business. [17 Aug 1990]

Nathan Lane steals the show in this tale of a high school English teacher who becomes obsessed with a student's play.

The affair may have raised eyebrows all over 18th century Paris, but it's not likely to elicit more than a shrug from 21st century moviegoers.

The sad fact is Williams is at his best while trapped in Andrew's original sleek form. His performance is subtle, his reactions restrained. The more Robin is exposed, the more ham is served.

You feel some of the strain in this immaculately shot, designed and costumed farce, but it's fast and the cast is lively, even though a lost-looking Broderick rarely gets to shoot his patented bewildered look.

Anemic. [30 October 1998, p.8E]

The original was a Midol moment, this is a Prozac exercise. [12 March 1999, Life, p.8E]

A humorous chick flick for well-read audiences, Austenland is a novel concept.

The Great Wall crumbles mainly because of its wholly predictable plot, wretched dialogue and dud of a filmgoing experience from noted director Zhang Yimou (House of Flying Daggers).

It's a welcome update, qualifying as the best in the series since the first film captivated and unnerved audiences in 2007.

Anything but cutting-edge. [28 Jul 2003]

The entire undertaking feels like a waste of time and talent.

The Family is a fish-out-of-water/buddy comedy/Mob flick. But most of all, it's a missed opportunity.

Yet another ho-hum family comedy hits screens this weekend -- this one in peppermint holiday flavor.

So leaden and obnoxious that it actually makes you long for the John Travolta of "Old Dogs."

Neither side is worth rooting for in this ridiculous blood feud, which features some of the year's most laughable dialogue.

Stinting on story, dialogue or character development, Bay leaves us with little more than destruction and a hollow, clanking spectacle.

A truthful ad for Crazy People? How about ''You already heard all the best jokes in the commercial.'' [11 Apr 1990, p.4D]

For all his talent, Martin Short has been consistently snakebitten in his choice of movies, a streak now extended by Disney's Jungle2 Jungle. Worse, this laugh-numbing venom has been transfused to co-star Tim Allen, until now a consistently successful big bwana in movies and bookstores and on TV. [07 Mar 1997, p.4D]

While the film is not nearly as evocative as Egoyan's 1997 masterpiece "The Sweet Hereafter" (also about children who died tragically), it is still an intrinsically fascinating story.

If you want to see actors hang from metal stairs, here's your funhouse. If you seek chills, stick with the twigs in The Blair Witch Project. [23 July 1999, p.12E]