Robert Koehler

In its overwhelmingly artificial depiction of the street gangs that ruled Brooklyn's mean streets in the 1950s, Deuces Wild draws from a phony deck.

Director David Zucker, a master of whacked-out visual comedy during his “Airplane!” era, drops the ball here.

No cuddly, funky "Pokemon" pocket monsters populate this pic; this game is for the big kids, rife with a ruthless tone, heightened violence and cold calculation. However, fans will put up with a dull tale to finally see their obsession on the bigscreen.

Sheer chaos on wheels, a hysterically edited jumble that defies belief at nearly every juncture.

Glitter deserves yet another title: "A Star Is Dull." As phony a vehicle as one could possibly concoct for a wannabe movie star, pic carries Mariah Carey into a swamp of gloppy melodrama.

One of the most brutally awful comedies ever to emerge from a major studio.

Awful and subversively spunky at the same time.

Amateurish, undramatic and bereft of any sense of pacing.

Chaos may not quite be "the most brutal, horrifying film ever made," as its garish ads promote. But it does contain moments as thoroughly sickening as any in Herschell Gordon Lewis' or Lucio Fulvi's bloody exploiters.

Though it lacks the sheer, depraved intensity of similarly themed pics like "The Gambler," Ride shares much of the sunlit sadness of "Save the Tiger," also populated by desperate, middle-aged men plying their trade in Los Angeles' garment district.

Even with ties to the true story of high school hoops coach Jim Keith and his unlikely triumph with a 1960s Oklahoma high school girls' squad, the hackneyed, overlong Believe in Me is much too similar to a recent flood of inspirational basketball pics to distinguish it.

Utterly drab and desperate for laughs.

A pathetically conceived drama that wastes the serious theme of how emotionally and sexually inadequate men abuse others.

As weak and banal as its thoroughly uninvolving central character.

Ensemble proves improvisationally capable, but film overall is rather conventional, a Hollywood idea of an experimental film presented with a heavy serving of showbiz-type cynicism.

Midnight moviegoers aren't so desperate that they will opt for such trailer trash.

Hobbled by uninspired stabs at cleverness and surreal narrative curlicues, The Big Empty goes nowhere, replete with a question mark of an ending that isn't worth answering.

There seems to be no bottom to Going Down, a lame also-ran in the rapidly declining teen gross-out comedy genre.

Pity the children for whom this is their intro to the world of Grimm, for while pic stays to basic outline of the original story in opening and closing sections, the large middle is stuffed with badly staged slapstick and painful stabs at hip dialogue in an arch attempt to cater to modern kids.

This cautionary melodrama about a Korean-American teen girl's slide into depravity is too inconsequential and too earnest to belong in the So Bad It's Good category; rather, it's merely bad.

Every stab at comedy in this mirthless slog is botched.

The unlikely success story of superstar Brazilian country music duo Zeze di Camargo and Luciano receives a polished if highly manipulative treatment in Two Sons of Francisco.

Writer-director Jack Piandaryan appears as tone-deaf to his miscalculated dialogue as he is unable to eke out convincing perfs from his cast.

The rags-to-near-riches saga of "Goal!" has turned into a risible riches-are-awful tale in Goal II: Living the Dream.

A textbook example of a movie that betrays its audience, Entrance begins as a mildly interesting slice-of-life look at a struggling Los Angeles cafe worker, then impulsively devolves into a manipulative slasher picture.

Leiser flexes his animation muscles with a bewitching stop-motion technique, but it proves a poor fit with a scattershot storyline that includes quasi-interview and improv segments that never coalesce into a coherent whole.

[Mock] has made a movie that vitally captures an extraordinary character in extraordinary circumstances.