It's undoubtedly a daunting role, and Morgado captures the gentle benevolence associated with the messianic figure. He doesn't, however, project the authority, gravitas or depth of a spiritual leader.

It may be the only movie ever to feature a bad performance by Johnny Depp, one of the best actors working in films.

This dispensable comedy has a few unexpectedly loopy surprises, including an outlandishly gay detective (played by versatile actor William Fichtner), who loves the Ice Capades but loathes insurance fraud.

When movies have degraded to the point that Tyson is acting more than Quentin Tarantino is directing, maybe it is time for an industry shutdown, strike-induced or otherwise.

There’s a scrappiness to Atlas that pairs well with a human/machine bonding narrative and a fish-out-of-water Lopez trying to figure out how to work a super cool, high-tech armored suit and not die spectacularly.

You can't accuse this film of bogging down in cheap psychology, yet you come out dissatisfied and without a clue about what made this person tick.

At least this movie seems more aware of its trashiness than "National Treasure" was. It's therefore freer to have some off-the-cuff fun the way Steven Seagal's more tolerable vehicles once did.

Somewhere amid the mind-numbing barrage of action sequences there's a story based on Greek mythology. But its essence is buried amid the clatter.

It's a 2 1/2-hour slog, with tonal inconsistencies and monotonous, drawn-out action sequences. Scenes alternate between frenetic and tedious.

It's an almighty, humorless bore.

The movie tries to capture the crushing weight of loss, but between the insipid pop tunes and the repetitive shots cutting away to a lighthouse on a scenic outcropping, it feels more like a film version of a condolence card.

The movie for anyone who has dreamed of watching young dinos in love.

Annabelle invites unflattering comparisons with scary movies that came before, but its disparate parts never coalesce into a genuinely fearsome thriller.

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

Leaves a bad taste, not only because of its bad-luck timing, but also the staleness of its script.

Often livens up stale material with disarming loopiness and zest.

A movie that gives marriage, homosexuality, friendship, firefighters, children and nearly everything else a bad name.

The two main characters in Are You Here spend much of their time stoned or weeping. Those who watch this dreadful film may seek to escape or sink into despair as well.

You can't help but have high expectations from Zaillian and this stellar cast. But the result this time is a thuddingly tedious soap opera.

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

Screwball, vaguely futuristic political satires are a rare hybrid, and War, Inc. is an intriguing, if flawed, example.

And though young Miko Hughes does a fine job as the traumatized Simon, this ain't no "Rainboy". [3 Apr 1998, p.SE]

Though the picture falls apart whenever the two leads aren't on screen together, you can argue that That isn't that inferior to its predecessor.

Flippantly hip without any solid laughs, Life strains to be the flick more offbeat. [24Oct1997 pg06.D]

Fun is hiding behind a bad movie costume in this humorless and idiotic Halloween teen comedy.

Yearns to be fresh but ends up tasteless. It's as drawn-out, forced and annoying as a holiday meal with a dozen carping relatives.

It comes off like a coughed-up furball: a wan rehash with too many elements of the hard-to-swallow 2004 original.

Hip-hoppish Honey is in the harmlessly junky "let's put on a show" tradition of "Breakin' 2: Electric Boogaloo," minus electricity but with a budget for supporting-cast navel rings that 1984's break-dance sequel certainly didn't have.