While it's an energetic romp, there is more slapstick humor than wit at work here, and a good deal of borrowing from the far more clever "Monsters, Inc."

If you rely on films to keep your kids entertained and distracted for an hour and a half, Meatballs is a masterwork, a visual stunner that manages to break from animation's current 3-D rut.

For a movie that generally delivers the goods while you're watching it, mild irritants abound. Arachnophobia is soft at the center, but at least it won't traumatize (and thus repel) the mass audience. [18 July 1990, p.1D]

Though it features witty dialogue and good performances, the plot contrivances keep it from being an altogether winning enterprise.

The script's clichés have nowhere to hide.

The movie meanders without a rudimentary sense of the dramatic, yet it remains intermittently interesting thanks to a surprisingly voluminous cast of usual suspects from the world of independent cinema. [14 Aug 1996 Pg.09.D]

Hampered by over-earnestness and tugs too intently at the heartstrings.

While the jokes are obvious and the romance formulaic, a good-natured sensibility saves the film from being too hokey. The individual parts may not work, but the sum remains entertaining.

May not make you howl, but it does offer a few bona fide belly laughs.

Even by today's horror standards, Destination has some ghastly scenes. After seeing them, parents may want to reconsider letting their daughters try gymnastics or laser eye surgery.

Until it cools off some with a full half-hour remaining, Tequila Sunrise packs the solar heat the credits and premise promise. Yet a three-quarter success does a good Mel Gibson movie make - even if his co-stars steal it. [2 Dec 1988, p.1D]

Drawing upon "Wag the Dog," "Dr. Strangelove" and "This Is Spinal Tap," this sardonic tale is adapted from the critically acclaimed BBC series "The Thick of It."

Despite two strong lead performances and a welcome dose of female empowerment, this somber tale feels too familiar and formulaic.

The Jacket is a confused attempt at headiness that feels like a poor man's "Memento."

At its best in comic mode, more effective as goofy spoof than horror show.

The story, while sometimes soaring, is other times grounded by a hyperactive and numbing vibe. But Henry Cavill has the strapping good looks of the comic icon, and humanity to match his superheroism.

Pleasing piffle.

With Butler’s stellar portrayal, it’s never dull, and more enjoyable than not. The musical numbers are often dazzling, boosted by Luhrmann’s inimitable style. And the plot (for better and for worse) covers a ton of Presley’s life. But even when it’s over, you’re still not sure what Hanks is doing.

The story keeps reinventing itself (some of the later plot twists are among the funniest), but a little goes a long way at 112 minutes - maybe 25 minutes more than this sporadically pointed conceit really needs.

The third installment of the Night at the Museum franchise, Secret of the Tomb, is better than its predecessors, funnier and more adventurous, thanks to a visit across the pond to the British Museum.

This incarnation is funny, quirky and clever, with some mesmerizing action sequences.

Overall, it's a gently bittersweet and affecting portrait.

Especially strange: A gimmicky cameo by an actress who outclasses all previous goings-on.

Glee the TV show has become a cult phenom with three essential ingredients: whip-smart kids, adult-sized issues, all blended to sugary pop tunes. About a third of those components made it into Glee: The 3D Concert Movie.

The movie unfortunately gets stuck between edgy drama and broad comedy, and most of the humor lands with a thud.

The result is another middling comic-book adventure for the fan-favorite Spider-Man antihero that leans kooky and earnest and even saps some of its title character’s bite, though does give the snarling Venom a new aspect: a big baddie daddy.

If you can imagine a relatively solemn take on this theme, RoboCop 2 is it. Though Irvin Kershner's direction is competent, there's not a whole lot of eye-twinkling in evidence. [22 June 1990, p.2D]

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.