Pauline Kael

As the lines drone on -- paced with a sledgehammer -- you may feel you could die for a little overlapping dialogue. But with this material you can't even have the frivolous pleasure of derision.

The only reason to see this hunk of twaddle is the better to savor the memory of the Carol Burnett - Harvey Korman parody, which also was shorter. Mervyn LeRoy, who directed many a big clinker, also gets the blame for this one.

Michael Curtiz directed this oppressive, misbegotten venture.

This is a child's idea of satire - imitations, with a funny hat and a leer...There isn't a whisper of suspense, and there are few earned laughs; all Brooks does is let us know he has seen some of the same movies we have.

One of those errors-of-science thrillers; it's an even worse error of moviemaking.

All we have to look forward to is: When are these two going to discover fornication? The director, Randal Kleiser, and his scenarist, Douglas Day Stewart, have made the two clean and innocent by emptying them of any dramatic interest. Watching them is about as exciting as looking into a fishbowl waiting for guppies to mate. It's Disney nature porn.

Travel-folder footage of Rio mixed with father-daughter incest (in a disguised form)...Most of the movie is an attempt to squirm out from under its messy erotic-parental subject.

This is a certifiably loony picture; it's so bad it puts you in a state of shock.

Moore, a big shambling joker who's the director, producer, writer, and star, deadpans his way through interviews with an assortment of unlikely people, who are used as stooges. And he does something that is humanly very offensive: Roger & Me uses its leftism as a superior attitude.

Under the guise of a Socialist parable about the economic determinism of personal behavior (class interests determine sexual choice, etc.) the writer-director, Lina Wertmuller, has actually introduced a new version of the story of Eve, the spoiler.

This movie is offensive on just about every level.