Introduce the supernatural, and anything goes. Here, everything does. And that's a problem no one can solve. At least it wasn't called "Case 666."

Maudlin script mars teen love.

The problem in The One isn't the black holes in the universe, to which the characters refer at periodic intervals, but the black hole on the screen. The One is a zero.

Not terrible, not terrible at all. Yes, the plot is terrible, some of the jokes are terrible, and Rob Schneider's bizarre from-the-neck-up oxblood tan is terrible, but the movie as a whole is a more-than-acceptable addition to the genre of shameless and hastily made American comedy.

For proof that some actresses can take on a misconceived role and get out alive, there's Huffman as Lilly.

It's a self-amused, self-conscious, seriously limp throwback to motorcycle westerns of the 1970s.

If unused spit takes, flubbed dialogue, and extra improvisation are so uproarious, why not give us 90 minutes of that? License to Wed is tolerable for about five.

At least hits a certain adrenaline level, and the stunts have panache. If you crave the ''Young Guns'' approach to the Old West, here it is again.

Executed on a pretty broad level, but if characterization is slighted, the ensemble is so rich, with such depth, that every few minutes another juicy turn keeps coming our way to divert us.

As dumb spoofs go, The Comebacks isn't bad. It takes almost every sports movie of the last five years ("Field of Dreams," too) and blends them into a single slapdash comedy.

Crude, lewd comedy that makes ''Animal House'' seem wholesome.

This is mythology that’s famously transportive in every sense, but the animators struggle to take us anywhere truly captivating, or even clearly defined.

The problem with the realization of this concept, Drop Dead Fred, is its lack of subtlety. The filmmakers go too broad. Where there should be whimsy, there is grating farce. The character of Fred is like "Laugh-In" comedian Alan Sues doing Monty Python comedy skits on Billy Idol for "Sesame Street." Whenever he's onscreen, he's picking his nose and slinging food and muttering insults. Early into the movie, he gets on your nerves. [24 May 1991, p.52]

Never having decided whether it wants to be comedy or a sentimental hand-wringer, it tries to be both and winds up being neither.

Deeply, proudly average..."Mean Girls" it's not; a plastic butter knife has more edge. But sometimes it's nice to know your kids won't cut their fingers.

It winds up being predictably charmless and forgettable, even as a travelogue or iPod download.

Harmless in the extreme and it'll mute your kids for nearly 80 minutes, but why not just treat the little yard apes to the real deal and take them to ''Spirited Away''?

Had Stealing Harvard merely been a stupid movie about people stuck in a string of silly moments, it could have gotten by on charm. As written by Peter Tolan and directed by Bruce McCulloch (''Kids in the Hall'') it's a stupid movie about stupid people.

There is less eye candy than you would expect, and it’s underwhelming.

If ridiculous, hackneyed, gratuitously violent slasher movies aren't your thing, don't go near Venom with a 10-foot snake pole.

Stunningly insipid and pretentious.

I watched at least a quarter of My Soul to Take, the worst horror movie Wes Craven's made perhaps ever, with the glasses off. It was shot - and is available - in a standard format, and, like many conversions, the 3-D gimmick is like watching a movie through an ashtray.

The only chills to be found are courtesy of your theater's central air, and the suspense will come from the wait to see which disappointed kid in a hockey mask will be the first to slash the screen.

At least Dragonfly isn't contemptible or altogether dismissible. But it doesn't use Costner well, and it even more unforgivably wastes Kathy Bates.

What the movie lacks in wit it makes up for with variety.

This one, a comic vacuum, is close to amateurish. [22 May 1992, p.32]

No doubt a labor of love, the result is just plain laborious for the audience.

The latest Guy Ritchie shoot-em-up, is a joke. You laugh with it but mostly at it.