Tacky in the extreme, this self-congratulatory 1988 film is an exercise in hypocrisy, indulging every form of Christmas exploitation that it pretends to attack, and many of the laughs are forced.

Full of meaningless tragedies left unjustified by the absurdly optimistic ending .. (an) intolerable story.

This is a complete mess, making up its story logic as it goes along, though in contrast to the sluggish "Shanghai Knights" its chief problem is having too many ideas instead of too few.

This all-day sucker put me to sleep -- though it's possible I retreated out of self-defense.

It's hard to pinpoint where things go wrong.

This frantic sequel finds the diaper-obsessed heroes and their foolish parents marooned on a desert island, where they encounter the family from a more charming Nickelodeon cartoon.

The mirthlessly sadistic gags tend to target people in wheelchairs or hospital beds and betray a mild if all-encompassing disgust for the source material and the audience.

This wretched remake was helmed by Raja Gosnell, perpetrator of the live-action "Scooby-Doo" movies. I'm partial to Quaid and Russo, but there are limits.

A busy, Crash-like complex of LA stories, each hammering home the injustice of our immigration law.

Cage is the only actor allowed to do riffs on his assigned part, something he takes full advantage of; the others are stuck with their two-dimensional satirical profiles, which grow increasingly tiresome and unyielding as the comic plot predictably unfolds.

The only one who seems to be having much fun is Parker Posey, camping it up as one of the vampires.

A soporific ghost story.

Adam Sandler displays no virtuosity and stirs no pathos in this special-effects comedy.

Humorless, lugubrious, and interminable.

The plot is just a delivery system for a series of gruesome, convoluted, and--depending on your tolerance for sadism--hilarious freak accidents.

Dopey, violent horror thriller.

Charmingly low-tech fantasy.

Patrick Dempsey and Michelle Monaghan make an agreeable pair in this above-average comedy.

I had a pretty good time with this until the end, when I felt so soiled by the filmmakers' cynicism and the characters' gratuitous viciousness that I wanted to take a bath.

With any luck this biopic of Amelia Earhart will also vanish without a trace. Hilary Swank is sorely miscast as the legendary aviator.

The most obnoxious case of masculine swagger since Andrew Dice Clay, with just a tad of Paul Lynde thrown in for spice, Jim Carrey defies you not to bolt for the exit while playing the title hero in this 1994 comic mystery.

The Fort Lauderdale setting imparts little flavor or atmosphere, and the same goes for the flagrantly unerotic dances.

Neil Diamond's remake of the 1927 Jolson vehicle isn't very good, but neither is it the vacuous, sentimental ego trip it's been painted as.

The TV show was mildly subversive, with humor that children and adults could enjoy on different levels, but the movie strives for a blander, family-oriented middle ground.

Though the jokey lines seem out of place, the somber tone of this 1998 action movie makes the political subtext -- nearly obscured by the expected double crosses, extravagant destruction, and incongruous-buddies shtick -- more sincere and less grandiose than usual.

May be a good showcase for James Franco, who's in every scene, but it's a disappointing choice for director Justin Lin.

The word "raunchy" doesn't begin to describe this.

Jon Voight, the all-purpose villain, does a pretty good job of imitating Marlon Brando imitating a Paraguayan snake expert, but the rest of the players--including Jennifer Lopez, Ice Cube, Eric Stoltz, Owen Wilson, Vincent Castellanos, Jonathan Hyde, and Kari Wuhrer--seem to be in a hurry to pick up their checks.