The only redeeming feature about The Gunman is its exotic locations.

You know something is wrong when a preschooler's unwitting ad-libs are funnier than anything seasoned comedy writers can come up with. Kids say the darnedest things. Too bad the grown-ups don't.

For a movie with a star wrestler at the center of it, Legendary doesn't pack much of a punch.

Proudly stupid, silly and gory.

The movie-calendar equivalent of last July's "Six Days, Seven Nights," this star-powered romance overcomes a shaky start to outpace that passable confection by several runaway laps.

There's nothing wrong in the setup: It worked fine in films like "Adventures in Babysitting" and "Uncle Buck." But director David Gordon Green populates the movie with so many soap opera asides it's hard to keep count.

Where 1991's "Thelma & Louise" was funny and action-filled, Tammy's story is thin, cringe-inducing and, worst of all for a comedy, not funny. Jokes land with a thud and the pacing is leaden.

This misguided chick flick jumps through a lot of hoops just to state the obvious: "Life goes on, enjoy the time you have."

Freddy's Dead is fan fare, with little to offer those who aren't already Freddy freaks. [16 Sept 1991, p.5D]

Johnny Depp’s drunken Captain Jack Sparrow stumbles into yet another seafaring adventure, which has its rocky moments but also offers an engaging tale with family legacies, above-average swashbuckling and a fantastic new villain courtesy of Javier Bardem

The movie version is simply a poor adaptation, trading the vibrancy and refreshing spirit of the original show for all-too-familiar teen-movie angst, with an out of place leading man.

It reminds the generations who witnessed Jackson’s ascension in real time of the extent of his singularity and educates younger audiences about the magnitude of his talent and scope.

The story doesn't clarify why the dragons hibernated for hundreds of years, nor why they awakened. Clearly, however, the filmmakers might have benefited from more sleep before penning the script.

Essentially Cars in midair.

So the cliches are as thick as a vat of honey. And the love story proves just as syrupy. But for those who lap up this sappy vision of romance, it contains all the key ingredients.

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

The transition from Hanna-Barbera animation to manic-barbaric live action falls flatter than a granite slab, from the first of many deadly stone-age wordplays - "Steven Spielrock Presents" - to the gross-out shots of dirty tootsies. [27 May 1994 Pg. 01.D]

The contrived insult comedy here feels old, borrowed and blue.

The film's only bright notes are Fred Gwynne's flavorful performance as a bucolic neighbor, his Herman Munster basso in full throttle, and the lovely Maine settings. If Pet Sematary could have boasted more authentic details in telling its devastating story, it might have been a classic instead of just another pet peeve. [25 Apr 1989, p.9D]

The new version has a few jolts, some occasionally effective smoke-and-mirrors photography and a lead (7th Heaven's Jessica Biel) who could teach a grad course on walking provocatively in blue jeans.

The trouble with indulging Taking Lives is that it's taking your time.

Has a riddick-ulous sci-fi plot, overblown and numbing video game-style special effects and a going-through-the-motions lead performance by Vin Diesel.

Director/co-writer/co-producer Nora Ephron is best known for the magical Sleepless in Seattle. Michael is mirthless in the Midwest. [24 Dec 1996 Pg.03.D]

Terminator used to be a sci-fi franchise defined by its cool time-travel concept and even better special effects. Unfortunately, it's "Hasta la vista, baby," to those good old days.

The movie shoots for the moon with an intriguing dual-role conceit but wildly misses the mark. Hackneyed dialogue, a thin and silly plot fumbling the ambition of the concept, and a mixed bag of visual effects all leave this one just for the Smith completists.

It's a pleasant enough fantastical adventure, but it does feel naggingly derivative.

Stereotypical, banally written bloodbath.

Offers up the absolute bare necessities of a sequel.