Unfortunately, Red Eye goes from being a powerful thriller to a far more predictable story of revenge.

With so much covered superficially here, little is covered well. But the film moves fast, with the cafe becoming a viable - even vital - character. [30 Dec 1991, p.4D]

In lieu of a toga party, one scene treats us to an octogenarian fraternity member wrestling two topless townie lookers slathered in KY Gel. Hey, there's no stopping progress.

Even when the movie works, it's so much like having Daffy Duck assault your face that you want to buy a box set of elevator music for the calming drive home.

Invincible doesn't offer any surprises. But it is a well-made, fairly exciting movie that, like its hero, has heart.

As the film ultimately deviates from its course, the entire undertaking suffers.

The movie falls short of achieving its apparent goal: being the "Raging Bull" of the art world.

The problem is the letdown you feel when these glorious morsels (film clips and soundtrack) end, and it's back to three morose schlumps.

Adam is a cut above most romances and boasts a intriguing conclusion. One comes away with a sense of hope, leavened by realism.

Donkey continues to be lovable, and Puss in Boots (Antonio Banderas) has one of the funnier character arcs.

Directed by Lee Isaac Chung, “Twisters” is a monster truck of a summer movie, an often-enjoyable ride rocking a “Hell yeah, science rules!” bumper sticker that gets stuck in muddy subplots and looking at the original in its rear-view mirror.

Although it's a vast improvement from its early aughts predecessor (not exactly a high bar to cross), this ghoulish gathering is a family-friendly affair that's awfully vanilla when it comes to both humor and scares.

There's at least one plot element too many here; let your own taste determine which one. Yet until it dissolves into conventional melodrama during a climactic fracas, this fast-paced story is never less than watchable.

While it takes stabs at realism, mostly in its use of cellular and computer technology, disbelief must be suspended for full immersion in this twisty airborne thriller.

It's the kind of material that is either going to make your day or not.

This gritty examination of physical and psychological wounds offers a superb performance by Marion Cotillard, who speaks volumes with her eyes, and a less convincing one by her lead co-star.

Watts has proven herself a Lady of the Rings, but twice is enough. No burning need for a trilogy.

Two constants: good acting and an old-fashioned preachiness that backfires.

Agreeable and slipshod in equal fashion, The Guru illustrates the subtle distinction between stupidity and goofiness.

If you were holding out hope that Frozen 2 could equal or surpass the original phenomenon, it’s time to let it go.

But this isn't Diceman's feat of clay. Instead, Ford Fairlane runs fairly well on high-octane silliness. [11 Jul 1990, p.4D]

Moviegoers will come up empty with Mad Money. This lifeless comedy and uninventive caper feels as if it were cobbled together at a studio's obligatory consciousness-raising diversity seminar.

From “Freaky” to the upcoming “Abigail,” Newton is quickly becoming one of horror’s freshest faces, and “Riverdale” veteran Sprouse showcases a gift for physical comedy with what amounts to a silent-movie role. His Creature alone is worth the watch, though the movie’s breakout gem is Soberano, who brings scene-stealing verve as the protective Taffy gets caught up in her sibling’s shady business.

We all know grossly moronic behavior can, in the right situation, generate hearty guilty-pleasure guffaws - at least until overkill wears out the welcome.

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.

While entertaining with its swipes at everything from health food to the Latin pop craze, the semi-sweet story is about as deep and meaningful as a groupie grope.

James Franco is a gorgeous, smoldering lover in Tristan & Isolde, but you can't help being reminded of Ben Stiller's "Zoolander" character.

Splinter is no exploitative blood bath or torture horror like the "Saw" movies. It's more of a thriller along the lines of "The Thing" or "Alien." The scares are equal parts psychological jolts and gore. This is classic Halloween fun, with plenty of thrills and chills, surprisingly believable performances, and healthy doses of humor.