Charles Taylor

It's an A-list movie for the most brain-dead elements of the action-movie crowd.

The Invisible Circus isn't junk. It's carefully, competently made, though with no particular feeling for technique or rhythm.

A sustained piece of showboating mythmaking, and something of a snow job.

A giddy madcap classic, one of the wildest and funniest American comedies in years.

Lightweight but delightful martial-arts romp.

It's fun, but it isn't believable for a minute.

Deep Impact is the work of someone crass enough, and in some essential way mad enough, to try to turn the apocalypse into a tear-jerker.

The plot construction here is especially lazy. The whole movie is built toward the dance competition.

What's offensive in Bringing Down the House is the way the jokes have been calculated not to offend.

It's hard to remember a movie that has asked us to care, without giving us reason to, about a character who is so thoroughly and relentlessly a prick.

Jolie is far too good for this tripe but she does give the film its only believable moments, and for the first half, her concentration makes you watch her intently.

Another Jerry Bruckheimer-Michael Bay demonstration of spectacle -- noise, stunts, the aforementioned incoherent editing -- taking precedence over story and character... by far the most brutal American picture released this summer.

If a couple who belonged to the Christian Coalition, or your maiden aunt, or George and Laura Bush were looking for a reassuring night out, Raising Helen would fit the bill nicely.

Far from unwatchable. It's not a good movie but at least, on its own schlocky terms, the story makes sense (which is a lot more than you can say for "The Sixth Sense").

It's a terrible movie, stuck in plot idiocies and big, noisy set pieces like a tire mired in mud.

There are five writers credited with the script for The Medallion, and between them they don't come up with a single original or amusing or clever idea.

A stupid, brutal and nonsensical picture.

Sandler deserves to be damned to the pits of hell for this witless masturbatory comedy.

Ben Affleck provides a charismatic star turn, but John Frankenheimer's out-of-season heist thriller is dead on arrival.

I don't know when a bad movie has made me laugh as much as this one. Most of the gags are vintage silliness: foreign double talk, characters donning funny costumes, well-timed profanities.

This cookie-cutter spy thriller depends on the chemistry between Anthony Hopkins and Chris Rock. Um, wait, there isn't any.

Unpleasant would be the word for Mercury Rising if "tired" weren't a more appropriate one.

The most surprising thing about the movie is the clumsiness of Harold Ramis' direction. Ramis has never equaled the work he did on "Groundhog Day."

There's an entertainingly ludicrous movie lurking somewhere inside of the ludicrous, mediocre one this actually is.

This clunky TV remake is stiffer than an iron curtain.

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.

This alleged thriller, which might be described as "'Gaslight' Goes to College," is one of the most incoherent features in recent memory.

A grim, sour view of single life.