Strange, how good feardotcom is, and how bad. The screenplay is a mess, and yet the visuals are so creative this is one of the rare bad films you might actually want to see.

The movie's problem is that no one seemed to have any fun making it, and it's hard to have much fun watching it. It's a depressing experience.

This whole movie is crazy, with all sorts of well-known folks stumbling and bumbling about in search of a character. At times Reach Me is undeniably intriguing, mostly because it’s just so weird and disconnected. Eventually, though, it just becomes tiresome.

Director Johannes Roberts is clearly a fan of films such as “Christine” and “Halloween.” The production elements are first-rate, including the expansive setting that includes multiple cabins, a playground and a swimming pool.

Deadly serious people are involved in deadly serious business in “Wasp Network,” and there’s an air of importance and urgency to their every move, and we should be utterly immersed in this story — but we’re not. Not even close.

A movie with a lot of funny one-liners, but no place to go with them.

There's a point at which the plot crosses an invisible line, becoming so preposterous that it's no longer moving and is just plain weird.

Technically impressive but listless and tedious.

Love is blind, and movies about that blindness can be maddening.

The tantalizing enticement of Goldie Hawn pairing with Amy Schumer for a mother-daughter, road-trip buddy comedy has some moments, but never fulfills its promise. As their onscreen adventures and antics grow zanier and broader, the laughs actually grow softer and more sporadic.

Class is a prep-school retread of "The Graduate" that knows some of its scenes are funny and some are serious, but never figures out quite how they should go together. The result is an uncomfortable, inconsistent movie that doesn't really pay off -- a movie in which everything points to two absolutely key scenes that are, inexplicably, the two most awkward scenes in the film.

Too cluttered and busy, but as a glimpse into the affluent culture of a country with economic extremes, it's intriguing. Occasionally it's funny and moving, too.

All of this is intriguing material, but the movie doesn't do much with it.

Proves to be unsatisfactory because it establishes a well-defined group of characters and shows them disrupted by the careless behavior of a tiresome young woman and two adults who allow themselves to be motivated in one way or another by her infectious libido.

This is a well-made thriller traveling over awfully familiar turf.

What they came out with is the most complete collection of cop-movie clichés since John Wayne played a Chicago cop in “McQ”.

In the real world, Elle Woods would be chewed up faster than one of little Bruiser's Milk-Bones.

This is a competently made film with decent cinematography and production design, and the casting is never less than ... interesting, but it favors a simplistic approach and a narrative that verges on adoration.

For all the outlandish style and heaps of energy in Nowhere, Araki's most expensive and mainstream film, it can be reduced to one big pessimistic shriek. How do you spell Life is a bummer? Apparently, by never shutting up. [06 June 1997, p.32]

Somewhere in the laundry list of clichés, there is a movie here that we have already seen and forgotten.

A depressingly uninspired superhero adventure sequel that leans heavily on plot points and battle sequences we’ve seen in at least a dozen other films in the genre — and almost always done better.

The screenplay creates a sense of foreboding and afterboding, but no actual boding.

There is no entry portal in The Rules of Attraction, and I spent most of the movie feeling depressed by the shallow, selfish, greedy characters. I wanted to be at another party.

As amiable and formfitting as Ghostbusters II can be, it's a thin, dimly conceived affair. For all its rave-up special effects, it adds little to director Ivan Reitman's original, which itself was no fountain of wit but at least had a fresh gimmick going for it. [16 Jun 1989, p.37]

Emma Roberts and Dave Franco are just fine, but there’s no huge onscreen spark between them. Most of the supporting roles are thinly drawn and forgettable.

Arriving in theaters nearly three decades after Will Smith and Martin Lawrence proved to be a hilariously likable duo in the original “Bad Boys” and four years after the entertaining, midlife-crisis threequel, the bombastic and cartoonishly over-the-top “Bad Boys: Ride or Die” is one loud misfire.

It's a long, shapeless, undisciplined mess, and every once in awhile it generates a big laugh.

It’s like a strange and misguided takeoff on “All That Jazz” as funneled through “Rock of Ages,” and while there’s no denying the heart and effort behind the presentation, that finale is representative of the movie itself in that it has an uncanny way of hitting the wrong notes.