Dave Kehr

It's the sort of film that can only be watched in stunned disbelief, as it lumbers from one misfired, unpleasant sequence to the next. The nicest thing that can be said about Nothing but Trouble is that there is nothing else like it, thank goodness. [19 Feb 1991, p.7C]

Buried somewhere in the screenplay are some Robert Altman-esque satirical intentions, in which the wildly corrupt college football recruitment process is offered as a panoramic image of frenzied American venality. But Bud Smith's broad, colorless direction removes whatever sting the material may once have had, edging the action instead toward sub-"Police Academy" slapstick-flying pizzas, exploding fire extinguishers, mass fist- fights that break out for no discernible reason. [25 March 1988, p.D]

Villainy toward the infant class now comes from Jon Voight, descending to the depths of his 37-year-career.

Self-conscious camp, the lowest artistic category known to man.

The picture is a smeary, dreary mess from start to finish.

Given the grosses of the original, a sequel to Teen Wolf was inevitable-and it was inevitable, too, that the sequel would lose the quality of innocence and unconscious artfulness that made the first film work. The material has been broken down, analyzed and reassembled with scientific precision; what was instinctive in the original has become self-conscious and calculated in the followup, and the spirit is gone.

It`s shoddy, lazy and numbingly stupid.

Too campy to work as straight drama and too violent and sordid to function as comedy, Vulgar is, truly and thankfully, a one-of-a-kind work.

Doesn't have many fresh ideas to contribute to the genre, though it is reasonably good-natured and delivers a handful of solid laughs.

This is a bumpy ride, but one worth taking.

Unfortunately, its inescapable comparison is to David Gordon Green's "George Washington," made the same year as Mr. Davidson's film but with a far greater sense of style and a more profound grasp of the fragility of young lives. Way Past Cool can't stand up to that kind of competition.

Requires a bit more energy and originality to set it apart from the run of the indie pack.

Has an edge of cynicism and cruelty that just as often suggests the spaghetti westerns of Sergio Leone.

The real love story here may be between Todd the exhibitionist and Mr. Verow the voyeur, peeping in on his character's activities. They look to have a long and happy future together.

Doesn't add much to the coming-out genre, as it has been established in countless Sundance competition films and made-for-television movies.