Andy Klein

Fact is, there is nothing feloniously awful about the whole thing, but the laughs are tepid and too infrequent.

It's pretty good fun, once it gets going, but still makes some of the same mistakes that have plagued other Hollywood films that interpolate the concepts of Hong Kong action.

While the humor is recognizably Plympton, he has actually bothered to construct a real story this time, and the joke sequences are shorter and better integrated. The visual style is also richer and "better drawn" than before.

It's perfectly effective, though only rarely inspired.

Williams is so unique that his presence automatically changes any project he stars in. Surprisingly, in this case, the change isn't particularly welcome.

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

The result is by no means the embarrassment that many such offerings from unjustifiably vain actor-auteurs have been, but nor does it present much of anything new or compelling to demand one's attention.

Comes across as artificial.

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.

The underlying theme constantly changes shape, not in a way that seems rich in ambiguity, but in a way that seems poorly worked out.

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

Nowhere near as bad as distributor New Line seems to think.

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

This use of narrative irony is in fact not just the central joke; it's the only joke. And as a result, the movie slightly overstays its welcome.

This is after all a romantic comedy, not a romantic tragedy, though you might not realize it since it’s almost devoid of humor.

Goes by relatively swiftly and painlessly, despite the completely ragtag nature of its construction, but there is not an inspired moment in it.

It's hard not to warm to a film that features William Shatner (playing himself) looking at De Niro's character and complaining about what a lousy actor he is.

Manages the seemingly impossible task of being very funny indeed and being as dark as anything Wong has ever made. This is an almost painfully bleak comedy that makes you squirm in the manner of “The Out-of-Towners.”

A mostly well-constructed action flick with a number of flashy, well-choreographed fight and chase scenes.

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

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.

The film is reasonably entertaining, though it begins to drag two-thirds through, when the melodramatic aspects start to overtake the comedy.

This is not exactly original, but Schaeffer and his cast manage to make it tolerable.

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

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

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.

Has an awkwardness that defeats whatever emotional involvement it tries to achieve.

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.