Life as a House mounts a brutally insensitive attack on its audience's sensitivities.

Smith appears to have poured his creative energy into the cheerful come-on of the title and left nothing in reserve for the movie. He fails to wring any memorable comedy from shoestring porno filmmakers because his own filmmaking is just as amateurish and slovenly.

Derived from the folksy, avuncular works of Jean Shepherd, it's a movie in search of a story, characters and a reason to exist. In this quest, it goes 0 for 3. It's like watching Jell-O harden, then melt, only not quite so much fun. [23 Sep 1994]

Oh, this is all so terribly not good.

So witless it wins most of its laughs when Czech-speaking characters spout obscenities that get translated into English subtitles.

To top it off, the ending is a clumsy cheat. Of course, I was rooting for the news gal to expire and the film to die a quick death.

Collateral Damage isn't jingoistic; it also isn't exciting. It's a depressed rabble-rouser.

What's more annoying than the screenplay's relentless assaultiveness is its odd, sordid cuteness.

This chick flick never should have made it out of the incubator.

Bottom line: Juwanna Mann is a drag - in every sense of the word.

By the end, Pootie Tang feels as long as Kevin Costner's "Wyatt Earp."

Too bad you can see this sort of thing done more amusingly every week on ABC-TV and Comedy Central.

The film is in desperate need of flow. It plays like a collection of bits, skits that have been thrown together with little eye to continuity.

The whole narrative is too hollow and rickety as well as gimmicky for Muccino to breathe much life into it.

Here's hoping your own dreams of Africa are more interesting -- and better acted -- than this movie.

The movie is a monument to egomania - and I don't mean Alexander's.

The Dukes of Hazzard may mark some sort of nadir when it comes to movies made from TV shows. It's an overlong, under-thought and numbingly one-dimensional extrapolation of a TV show whose pleasures were, at best, marginal. See it at your own peril.

Equilibrium doesn't tread softly on our dreams; it tramples them.

Fanaro's script never really hones in on the concept's potential.

The Emperor's Club is a beautiful fraud -- as gracefully proportioned as a Christopher Wren academy, yet as devoid of content as a prep-school promo film.

Gummo is one of the most repellent cinematic efforts in recent memory. Whatever small audiences it attracts -- and they will be drawn mostly by the prospect of watching something "shocking" -- will wind up leaving the theater in a state of disgust. [21 Nov. 1997, p.5E]

If this version had been called The Poseidon Adventure, audiences could have sued for truth in packaging.

Bride Wars has possibly the worst comedy idea since "Springtime for Hitler," with almost no room for redeeming camp.

The best reason to see it is Kate Bosworth as Sandra Dee.

The collateral damage of action products like Ballistic is to the sensibility of the audience.

This film isn't the most awful comedy of the year (that would be Bride Wars or New in Town), but it may have the grossest antihero.

"This Is Spinal Tap" was brilliantly funny. Death of a Dynasty? Well, the movie is just dead.

The One is all sound and fury, and nothing else.