Andy Klein

It's not really a kids' film, nor it is particularly funny, by either design or execution. It is, rather, Columbus' latest attempt at a comically tinged tearjerker.

The film is overwrought, slow, and portentous, with confusing surreal elements and a narrative time scheme that's impossible to keep track of.

An uninspired, standard-issue mimeo whose only distinguishing feature is a reversal in its casting.

This really should have gone straight to video--or, better yet, to the nearest landfill.

What's particularly scary about Hollywood Ending, however, is that its flaws are exactly the sort of problems that often afflict aging directors, flaws that we've never seen in Allen before -- bad comic timing, slack pacing, an unsteady control of tone, a reliance on jokes that have long since become clichés.

In the real audience with which I watched it, the only laughs were from kids under eight or nine, mostly at hilarious "hooter" jokes.

While tyro director Simon West fills Con Air with all the slam-bang action and well-honed wisecracks that were the more positive qualities of its predecessors, the film brims even more with all their worst qualities.

With virtually no interesting elements for an audience to focus on, Chelsea Walls is a triple-espresso endurance challenge.

Hope Floats comes lumbering along, scourging all in its path with saccharine sentimentality and bogus emotions.

When emotion is called for, Cassavetes drags out every tear-jerking moment beyond the point of tolerability.

If a movie is going to be so totally derivative, it should at least do a better job of it.

The acting tends toward the cartoonish (not in a good way), and the story is built on a series of illogical motivations.

Indeed, the best that can be said about The Majestic is that it may boost Capra's reputation by virtue of comparison. Apparently, it's not so easy to weave that kind of magic.

I can’t imagine why anyone would plunge ahead with this project -- an adaptation of a classic no one reads, about characters no one could care about, directed by a filmmaker of little talent and less success.

Nearly every attempt at humor in this witless, completely reprehensible "movie" is mean-spirited and stupidly conceived at the expense of some group that deserves better.

Given how uninvolving Summer Catch is, the truly remarkable pitching here was not so much on the mound as in the executive office where someone convinced Warner Bros. to green-light this turkey, which should have been called Good Will Hitting.

It would be heartening if the adolescent girls of America turned their backs on this pandering piece of kitsch, but that would be hoping too much.

Boll uses a lot of quick cutting and blurry step-printing to goose things up, but dopey dialogue and sometimes inadequate performances kill the effect.

Nobody involved will want to make this banal "comedy" a highlight of their résumé, not if they have any sense.

As worthless a piece of garbage as we've seen this year.

It doesn't add up to much more than a trifle that might have been more impressive as a short.

The actors labor long and hard to bring some semblance of reality to the proceedings, but the whole affair has a distinctly faux '50s feel to it.

This is as close to a total wipeout as can be imagined.

Inert, unfunny, and not even interesting as a dirty movie, 8 1/2 Women could well rank as one of the worst films of the year.

While the whole is diverting, the ending's utter repudiation of reality seems like pissing on the audience; -- we feel like we've been suckers for bothering to care about the characters at all.

Reasonably well-made and all, but it's simply too familiar, too derivative and too inferior to its predecessors to have any reason to exist.

First, the good news: Unlike most action film sequels, Speed 2: Cruise Control is not a mere retread of the original. Now the bad news: Better it had been.

There is nothing particularly interesting about either the people or the situations. Barrial might as well have filmed ANY body.

Slips by quickly enough, but it never engages our interest more than passingly.

While the idea may be good, its execution is awful.

Comes across as artificial.