Large budget notwithstanding, the movie is such a blip on the year's radar screen that it's tempting just to go with it for the ride. But this time, the old MIB label stands for Milder Isn't Better.

This bromance with rapid-fire quips, however, is undermined by unoriginal scenarios and a long, drawn-out chase scene.

The adults fare best. Leonard and Enos have more electricity than the teens do. And the best performance is a low-key, authentic one by Stacy Keach as Mia's grandfather.

It's too bad that this long-awaited movie didn't go further than faithfully re-creating Kahlo's artwork and her studied look. Her passionate and tragically short life (she died at 47) is ideal Hollywood material, but the audience is left wanting a more in-depth portrait.

That old “Ohana means family” riff still hits right in the feels, though what this latest outing lacks most is the first film’s electric charm.

Ultimately, the movie doesn't make it, but there's enough going on to make it more arf than barf.

Directed by Jason Woliner, Borat Subsequent Moviefilm features an unexpectedly strong ending that at least pays off some of the sweeter aspects of the family dynamic, plus wraps up on an activist note... And while Cohen can be a great “serious” actor when he wants (see: “The Trial of the Chicago 7”), the absolute commitment to the over-the-top Borat persona continues to be admirable.

Though the writing is often sharp, one is reminded repeatedly by the actors' theatrical delivery of some lines and by the confined settings that the movie's origins were on stage.

De-Lovely has its moments of delight. Its defects lie mostly in failing to fully delineate what made musical icon Cole Porter tick.

The latest stab at a gangsta-fied This Is Spinal Rap, is more raggedly low-budget than last year's CB4, but avoids that film's awkward mix of satire and salute. [07 Jun 1994, p.6D]

There’s a refreshing whiff of whimsy and playful originality to writer/director John Krasinski’s big-hearted fantasy.

Enough low-grade laughs to entertain significantly more than some of the more prestigious year-end releases.

Greer Garson, in the same year as her Oscar-winning Mrs. Miniver role, shows good gams in a lively Scottish dance-hall number. And Harvest's seven Oscar nominations (including for picture, Colman and director Mervyn LeRoy) reflect the popularity the film has sustained for decades. [21 Jan 2005]

It's harmless, but bloodless - hardly a movie to get your juices jumping. [28 Aug 1992, p.5D]

The big surprise in Polanski's Oliver is the lack of a discernible personal stamp, especially from such a directorial master of the macabre.

Think of a B-grade "Bulworth" with lesser talents than A-listers Warren Beatty and Halle Berry.

It's a pretty good ride even if it blatantly steals some of its best stunts from "American Graffiti" and "Grease."

Even at its best, Adaptation is one of the movie year's most esoteric outings -- more so than even Paul Thomas Anderson's far superior "Punch-drunk Love." Too smart to ignore but a little too smugly superior to like, this could be a movie that ends up slapping its target audience in the face by shooting itself in the foot.

One Fine Day is two formulaic hours, but they do illustrate how two attractive leads and a lickety-split narrative can elevate meager material into something this side of bearability. [20 Dec 1996]

While Challenge makes for a pretty dull glimpse into the inner workings of the sea, it provides a fascinating look at the inner workings of Cameron, whose obsessive and demanding personality translated to movies that included "Titanic" and "Avatar."

A warm and pleasantly diverting tale.

This is one glum outing, with occasional pings of wry wit and hearty chuckles.

The movie clichés are bearable mainly because the cast rises above the formulaic material. There are also some bona fide laughs to be had once the setting switches to a luxurious resort in the Czech Republic.

Though preachy at times, Catch a Fire is a well-constructed action thriller elevated by Luke's performance.

Crowd-pleasing and compelling, most of all because of its fiery, charismatic heroine.

Notorious is like a piece of well-crafted bling. It looks good, and facets of it shine, but behind the gilded facade there's not much there. And what is there can be troubling and retrogressive.

The heart of the matter gets lost amid the action-movie elements – with shades of "The Revenant” and “Glory" – though a dedicated Smith emotionally steadies the film through its rougher spots.

Anderson has taken pains to re-create the '50s with superb production design and gorgeous cinematography. But he seems less concerned with whether the audience is along for the ride. The story can leave viewers at sea, floundering to give meaning to what they are watching.