Inexplicably, Butler continues to get work in romantic comedies despite his limited range and boorish persona.

The majesty of the landscape and the sweetness of a plot strand about the horse learning survival skills from a 12-year-old girl might have been more intriguing without the cloying voice-over.

Insulting to audience and cast alike.

It's doubtful that the haste with which two actors of the same sex break away from a kiss in this comedy was in the script, but otherwise everybody stays in character, which is impressive given the manic range of some of the roles and the comic monotony of others.

Landis never bothers to account for the friendship that springs up spontaneously between these two antipathetic types, but then he never bothers to account for anything in this loose progression of recycled Abbott and Costello riffs and fumbled Strangelovean satire.

The crude technique of director Sean Cunningham borrows whatever sophistication it has from Halloween's precise and elegant point-of-view shots of the killer, though Cunningham often cheats by using the ploy inconsistently. For all its shoddiness, the film manages, just barely, to achieve its ignoble goals--it delivers what it promises.

If your kids are fans there's probably no escaping this installment.

It exchanges the police subplot that gave the earlier film its steady pace for a lot of pointless backstory about the mother-fixated stalker.

Even with the bar lowered, this seems appallingly bad, a lazy assortment of weak punch lines, sentimental music cues, and trite situations.

The thesis-driven story precludes much dramatic discovery, and the looming shuttle disaster only exacerbates the sense of heavy-handedness.

As if to justify a serious discussion of this comedy before dissing it, some reviewers have pointed out that it evokes Casablanca. Maybe that's why the plot seems imposed on the characters.

In any normal year this dire comedy would be the undisputed lump of coal in our psychic stocking, but with "Surviving Christmas" still in theaters it's a close second.

This thriller largely succeeds in putting quotation marks around its use of genre conventions, mixing subtlety and overkill to create a pensive mood that transcends the plot.

Indie moviemaking reaches some kind of awful zenith of self-indulgence in this scriptless drama, entirely improvised and shot on cellphones.

Seems perfectly timed to coincide with the ascension to office of George W. Bush. It's a clunky effort Bush could have written and directed.

A cringe-inducing flop.

As silly as it sounds, but strangely dull.

Though some of his one-liners are pretty good, his shtick can't sustain this dutifully scripted comedy. Megyn Price, who's done time on the sitcom Grounded for Life, is a welcome distraction as the waitress with a crush on Larry.

Glowna presents this smoky German feature as an elegy for lost youth, but it's so tumescent with male self-pity that I couldn't wait for it to end.

This 1998 sequel seems almost deliberately designed to disappoint--our enjoyment is supposed to lie in making fun of the obvious red herrings, contrived opportunities to show cleavage, melodramatic dialogue, gullible characters, and inevitable to-be-continued ending.

This is shocking only for its tepidness; except for some raunchy language, it's ready-made for basic cable.

I can't say I warmed to the results, but I was solidly held for the film's two hours.

Sweetly mediocre.

Bob DeRosa and Ted Griffin wrote the script, whose plummeting one-liners leave no actor unscathed.

Awful light drama.

This atrocious comedy doesn't have an idea in its head but still screams at the top of its lungs.

To my mind, this is one of Robert Aldrich’s worst films, but clearly not everyone agrees.

At first Costner seems to distrust the hokey character he plays, but his performance and the movie's slanted humor, rash melodrama, and ludicrous action soon become riveting.