Meretricious without being entertaining, it's an easy game -- and an easier film -- to sit out.

A mildly entertaining but tepid extravaganza more suited to television than the big screen.

They have the chemistry of step-siblings, so a movie that has them make out is, as the one of the few girls in the theater exclaimed, "so gross."

It touches on universal themes of love, friendship, and family. Suffice to say it falls dreadfully short.

The moral universe remains unsullied in this lite, lo-cal thriller - the cinematic equivalent of a fizzy summer drink.

Innocuous amusement for 5- to 8-year-olds and other people stuck in the anal stage of development.

I'm afraid this is one of THOSE movies, one where ''plot" is another word for ''gratuitous sex scene."

The buzz was that Fair Game reshot its ending. They should have reshot its painfully fabricated beginning and middle, too. [03 Nov 1995]

His (Green) new gross-out comedy is crude and stupid, but just as often rudely funny. It doesn't so much push the envelope as shred it.

Prinze charming, but can't save movie.

Tawdry, trashy yawn-fest that makes the viewer long for the days when bad girls were dangerous dames with sultry style.

A not-so-funny thing happened on the way to Atlantic City, and Dan Aykroyd decided to make an offensively tedious movie about it. [16 Feb 1991, p.14]

By far the funniest part of Strange Wilderness is the trailer for "Harold & Kumar Escape From Guantanamo Bay" that's running before it.

There isn't a scene in Cocktail that isn't cheap and dumb, and whether its camp entertainment value compensates for its contempt for women is a question. Cocktail makes beer commercials look deep, makes "Top Gun" look like "Hamlet." [29 Jul 1988, p.21]

There's scant character development, pedestrian dialogue, and an almost complete lack of humor.

Cosmic slop.

Like criticizing the light fixtures on the Titanic. This ship was going down anyway.

The scenes with Keaton and Irons, too, rise above the mediocrity-unto-badness of Love, Weddings & Other Disasters on the strength of the actors’ charisma alone. Irons thaws satisfyingly as a snob finding unexpected love, and Keaton remains adorably, engagingly herself, turning her character’s blindness into a la-di-da form of grace. They are diamonds at a garage sale, and they deserve better.

Date Movie has enough laughs to make rambunctious dudes hoot and holler, but not nearly enough to ensure the happy ending it promises.

The problem with this numbskull travesty isn't that it's fatuous and smug (which it is). It's that it's slack and dull.

Not that there’s all manner of comedy craftsmanship demanding study here, but the movie does seem to be a funny jumble of contradictory impulses.

A crass, witless knockoff of better films.

Never thought we'd say this about a movie, but Bucky Larson probably doesn't wring as much out of recurring bodily-fluid gags as it could.

So heavy and lifeless that you keep waiting for those three little front-row kibitzers from "Mystery Science Theatre 3000" to appear at the bottom of the screen to start goofing on it.

The overall effect is ghoulish.

Think of the lamest horror movie you've ever seen. Now think of Tara Reid in the lamest horror movie you've ever seen. See how much worse it could have been?

The best thing in Meet the Spartans is the swift kick in the bombast it delivers to the oh-no-not-us homoeroticism of "300."

Lowbrow vampire spoof.