Charles Taylor

All Only the Strong Survive has to offer are scraps, and it's a sad thing to sit through a movie billed as a tribute to a group of terrific performers and to come away with nothing more than scraps.

Not even court-ordered rehab could save this stumbling drunk of a picture.

Unwatchable.

The point, I think, is the sheer callous inappropriateness of comedy existing within the physical reality of the camps -- even the imagined reality of a movie.

This clunky TV remake is stiffer than an iron curtain.

There isn't a frame of The Musketeer that's believable even as a Hollywood re-creation of a fantasy world. It's conventionally picturesque, except in the nighttime and interior scenes, which are dark to the point of glaucoma.

There may be filmmakers whose own vision is vast enough to take on Thackeray's, but Mira Nair isn't one of them. Her new film of Vanity Fair is a disaster. Scene by scene and moment to moment, it's a woeful misreading of the book.

A stupid, brutal and nonsensical picture.

The disgrace of Steal This Movie isn't just that it fails to do justice to its subject, but that, as a movie, it's barely competent.

I think you'd have to be comatose or mentally incompetent not to find Enough ludicrous.

If you've ever sat in a jet waiting on the runway, feeling it lumbering along in place and then bucking and shaking when it's cleared for take-off, you know what it's like to sit through Air Force One.

Penn's portrayal strikes me as equally insensitive. It's the nightmare performance of 2001.

Speed 2 is such an inept piece of direction that it's anybody's guess whether De Bont understands how to convey where two characters are in spatial relation to each other or in relation to the action.

Hannibal, which is very likely the worst film of this year and quite possibly the next, achieves what no movie I can recall ever even attempting: It somehow manages to be both repugnant and boring.