A catastrophically messy action-movie mash-up.

It's hard, bordering on impossible, to evaluate this movie without stepping on people's beliefs.

Unfortunately, whenever Beautiful threatens to work as parody, it veers uncomfortably into pop psychology.

Oh, this is all so terribly not good.

It's hard to figure who this picture is supposed to be for. Although a cartoon, it's way too mean-spirited and crass for young kids (parents, be forewarned!). And the idea that any substantial number of adults would find this sort of thing entertaining ... let's pray civilization hasn't come to that.

Stupid. Illogical. Simplistic. Pandering. And those are its good points.

Lowbrow humor is one thing...but Love Stinks sinks the bar beyond comprehension.

Why would anyone pay to see this movie?

Christmas with the Kranks is so calculated that it's pathetic, a warm-hearted holiday greeting card with not one scintilla of honest emotion inside.

A story about unmotivated characters trapped in an ill-conceived plot.

Most of the film is one big blooper reel. There's not enough of a gap between the rejects and the finished movie.

A fuzzy, feel-good movie about baseball, babes and believing in yourself.

This sophomoric film has little to do with Elvis, and everything to do with putting as much carnage as possible on screen under the guise of art, poetry, choreography, taxidermy.

An awful film about an awful time.

Doing a sequel to "The Mask" without Jim Carrey sounds like a really bad idea. As Son of the Mask proves, it is.

Even with help from a pathetic Kid Rock and a boost from always-on Christopher Walken, Spade can't pull this off.

There's a movie opening today that is so indistinctive I can barely remember its name.

The only way sober adults will keep awake is wondering how the lead mobsters on "The Sopranos" -- who also are amateur film critics -- will rank the movie next year on HBO.

Stay away from this movie. Brainless cartoonish violence.

Dr. Seuss' The Cat in the Hat is gorged with shtick and gadgetry. When it comes to highlighting everything better left in the dark, it makes even the Matrix sequels look like works of genius.

There's little that's special about Underclassman, certainly nothing that Murphy and Eddie Griffin haven't done better in movies far funnier than this.

It's stupefying in its dullness and vulgarity.

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]

The only bits worth watching are the scenes where Olsen is in full Carrey mode and Richardson is doing his best Jeff Daniels. The spot-on impersonations take the mind off the plot, the poo-poo gags, the clunky chase scene and the ripped-off finale.

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

Excruciating...The movie proves to be singularly unfunny and static almost from the non-get-go. Virtually nothing happens; the movie is all premise.

This movie doesn't play; it just lies there, waiting to be kicked around by anyone unfortunate enough to have shelled out good money to see it.

Relentless in its crudity, so indiscriminate in its pursuit of tasteless laughs, so pure in its determination to offend, one almost has to admire it. It's even funny. Sometimes.