Roger Ebert

Its primary flaw is that it's not critical. It is a celebration of an idiotic lifestyle, and I don't think it knows it.

The good idea: Richard Pryor plays a character who is blind, and Gene Wilder plays a character who is deaf, and once they become friends they make a great team. The possibilities for visual comedy with this idea are seemingly endless, but the movie chooses instead to plug the characters into a dumb plot about industrial espionage.

New Year's Evil is an endangered species - a plain, old-fashioned, gory thriller. It is not very good. It is sometimes unpleasantly bloody. The plot is dumb and the twist at the end has been borrowed from hundreds if not thousands of other movies. But as thrillers go these days, "New Year's Evil" is a throwback to an older and simpler tradition, one that flourished way back in the dimly remembered past, before 1978.

This movie doesn't scrape the bottom of the barrel. This movie isn't the bottom of the barrel. This movie isn't below the bottom of the barrel. This movie doesn't deserve to be mentioned in the same sentence with barrels.

Cannonball Run II is one of the laziest insults to the intelligence of moviegoers that I can remember. Sheer arrogance made this picture.

All great farces need a certain insane focus, an intensity that declares how important they are to themselves. This movie is too confident, too relaxed, too clever to be really funny. And yet, when the cowboys sit around their campfire singing a sad lament and then their horses join in, you see where the movie could have gone.

Movies like this demonstrate that when it comes to stupidity and vulgarity, only the best will do for our children.

Tuff Turf is the worst teenage exploitation movie since "Where the Boys Are".

It's got cheesy special effects, a muddy visual look, and characters who say obvious things in obvious ways.

An agonizingly creaky movie that laboriously plods through a plot so contrived that the only thing real about it is its length.

Tora! Tora! Tora! is one of the deadest, dullest blockbusters ever made.

The Awakening looks great but never develops a plot with enough clarity to engage us, and the solution to the mystery is I am afraid disappointingly standard.

Excruciatingly boring.

They say an elephant never forgets, which means that I have an enormous advantage over Tai, who plays Vera, because I plan to forget this movie as soon as convenient.

Because the opening scenes of Sleeping with the Enemy are so powerful, the rest of the movie is all the more disappointing. The film begins as an unyielding look at a battered wife, and ends as another one of those thrillers where the villain toys with his victim and the audience.

Last year, I reviewed a nine-hour documentary about the lives of Mongolian yak herdsmen, and I would rather see it again than sit through The Frighteners.

Regaled for 50 years by the stupendous idiocy of the American version of Godzilla, audiences can now see the original Japanese version, which is equally idiotic.

A horrible experience of unbearable length, briefly punctuated by three or four amusing moments.

If Flashdance had spent just a little more effort getting to know the heroine of its story, and a little less time trying to rip off "Saturday Night Fever," it might have been a much better film.

Biloxi Blues may indeed be based on memories from Neil Simon’s experiences in basic training during World War II, but it seems equally based on every movie ever made about basic training, and it suffers by comparison with most of them.

Maybe there's too much talent. Every character shines with such dazzling intensity and such inexhaustible comic invention that the movie becomes tiresome, like too many clowns.

This is an ungainly movie, ill-fitting, with its elbows sticking out where the knees should be. To quote another ancient proverb, "A camel is a horse designed by a committee." Life or Something Like It is the movie designed by the camel.

A terrible movie, sappy and dead in the water.

To the degree that you will want to see this movie, it will be because of the surprise, and so I will say no more, except to say that the "solution," when it comes, solves little - unless there is really little to solve, which is also a possibility.

Emma writes everything down and then offers helpful suggestions, although she fails to supply the most useful observation of all, which would be to observe that the entire novel is complete crap.

I'm Gonna Git You Sucka is a comedy that feeds off the blaxploitation movies, and although, like all good satires, it is cheerfully willing to be offensive, it is almost completely incapable of being funny.

The Flower of My Secret is likely to be disappointing to Almodovar's admirers, and inexplicable to anyone else.

The movie has good special effects and suitably gruesome characters, but it's bloodless.