James Berardinelli

The lackluster acting and horrendous dialogue don't help.

Too long and too full of itself to offer more than a few fleeting moments of entertainment. It doesn't take long for tediousness to triumph.

--- Ho, ho, ho - the joke's on anyone who pays to see this.

Boring and uninspired, this movie gives ghost stories a bad name.

Feels perfunctory and obligatory and, despite the return of several familiar characters, is more like an afterthought than an organic third piece of a trilogy puzzle.

Kids will probably love this film but, to be frank, most children aren't that discriminating (apologies to the few who are). There's nothing in the film that's reprehensible (although some may find the concept of a one-hundred five minute commercial for a game offensive in itself), but I find it hard to believe that many adults accompanying their youngsters will be entertained. In general, about the best recommendation I can come up with regarding this movie is to turn on the Nintendo and play a game yourself. You'll have more fun, spend less money, and it will be over a whole lot faster.

Clumsily incorporates elements of "Ghost," "The Sixth Sense," and "Field of Dreams."

Everything about it feels stale: the actors, the story, the comedy, everything. And, to make matters worse, that everything goes on for an interminable two hours.

All-in-all, what we have here is classic Seagal. And that means, for anyone who isn't an admitted fan, an uninspired outing.

Movies like this usually have something interesting to say about the human condition, but not Nine Lives. It makes an insufferably obvious observation: we live boring lives, shit happens, and we die.

The storyline is so infantile that it will appeal to young kids.

Taken as a whole, it’s excruciating in ways that few would consider enjoyable.

This is a bad film - at times it’s nigh unwatchable - but that doesn’t matter in the grand scheme of things.

The result is a film that runs far too long and rarely generates enough tension or genuine horror to justify its runtime—or, indeed, its very existence.

Everything about this movie feels both tired and tiring. Yes, it does a great job setting up a sense of deep unease but that quickly evaporates when it becomes apparent the movie isn’t going anywhere worthwhile or interesting, and the ending is downright silly.

Mixed Nuts makes a point of stating that there's magic at Christmas. After seeing this movie, I'm a believer. After all, it's virtually impossible to come up with an alternate explanation of how something this awful could make it to theaters across the nation.

By any standards, Silk is a bad movie: pretentious, stillborn, devoid of emotion.

The gore is so badly done that it's borderline comical and poor lighting passes for "atmosphere."

I like Steve Buscemi. I really do, which is why it's such an disagreeable task to write a review that condemns his directorial debut as a waste of film. I'm not talking about a good idea gone awry, I'm referring to something that's rotten to the core.

From narrative to character development to staging, every frame of Mistress America drips with artifice. It's a playground for unpleasant, self-absorbed characters - an excursion into the lifestyles of people most of us would prefer to bypass. If there's an antonym for self-awareness, it applies to nearly everyone populating this misfire.

Love Me isn’t bad in the sense that it is poorly assembled or incompetently shot. On a craft and technical level, it’s above average. But the narrative is incoherent and the philosophical meanderings lack depth and intelligence.

A bunch of IQ-challenged characters traipsing through a laughably bad scenario brought to life using silly dialogue, banal direction, and questionable special effects.

As a satire on the media's infatuation with violence and murderers, Natural Born Killers hits the bullseye. The problem is, this is a one-note movie. It repeatedly hammers home the same point until the audience is bludgeoned into senselessness.

This is a vile and reprehensible motion picture.

The problem with Bones and All isn’t that it’s disgusting or shocking or transgressive; it’s that it’s a tedious slog.

Breakdown is the latest in a seemingly endless traffic jam of thrillers that opens strong but finishes abominably.

A muddle of a film - an overlong bore that either mistakenly thinks it's something more than a humdrum romance or has incorporated a variety of pretentions as window-dressing.

Could it be argued that the movie is “so bad that it’s good”? I suppose, especially if you’re a connoisseur of cinematic guano. For me, Death Race is merely bad. I wouldn’t worry about finding a way to append the word “good” to anything associated with this film.