This is an extra-cheesy and terrible film.

The good idea: Richard Pryor plays a character who is blind, and Gene Wilder plays a character who is deaf, and once they become friends they make a great team. The possibilities for visual comedy with this idea are seemingly endless, but the movie chooses instead to plug the characters into a dumb plot about industrial espionage.

There must be humor here somewhere.

A lightweight and basically unnecessary attempt to once again bring some cinematic life to one of the lesser teams in the Marvel Universe.

A first draft for a movie that could have been extraordinary.

It's unnecessary in the sense that there is no good reason to go and actually see it.

A long slog through perplexities and complexities.

It is not faulty logic that derails The Hills have Eyes, however, but faulty drama. The movie is a one-trick pony.

Lucy in the Sky is an irritatingly self-conscious, maddeningly rudderless and scatterbrained story that bounces all over the place and never finds an identity.

Newsies is like warmed-over Horatio Alger, complete with such indispensable cliches as the newsboy on crutches, the little kid, and of course the hero's best pal, who has a pretty sister.

Is it a hard-R road trip comedy that makes no apologies for politically incorrect humor — or a sweet family film with a message about tolerance and acceptance? It’s both, I suppose. And neither element is particularly convincing or particularly funny.

Bootmen is the story of a young dancer and his friends who revisit the cliches of countless other dance movies in order to bring forth a dance performance of clanging unloveliness.

So unsuccessful in so many different ways that maybe the whole project was doomed.

It knows the words but not the music; while the Farrelly brothers got away with murder, The Sweetest Thing commits suicide.

Love and Bullets is a hopelessly confused hodgepodge of chases, killings, enigmatic meetings and separations, and insufferably overacted scenes by Steiger alternating with alarmingly underacted scenes by Bronson.

None of the action is coherent; shots and shells are fired, people and killed or not, explosions rend the air, SUVs spin aloft (the same one more than once, I think), and there is no sense of strategy.

Sure, the pricey special effects are impressive to behold (though, as usually the case, the 3D is nothing to text home about). And yes, at times “Valerian” creates a strange and beautiful universe. Which ultimately means nothing, because the plot is paper-thin.

Aside from Caine (who must labor under some secret contract that forces him to appear in every movie made with an English-accented role), the all-star cast plays like an inside joke, more made-for-television than anything else. [20 March 1992, p.41]

Another one of those road comedies where Southern roots are supposed to make boring people seem colorful. If these characters were from Minneapolis or Denver, no way anyone would make a film about them.

There's no chemistry between Deeds and Babe, but then how could there be, considering that their characters have no existence, except as the puppets in scenes of plot manipulation.

The movie stars Jim Carrey, who is in his pleasant mode. It would have helped if he were in his manic mode, although it's hard to get a rise out of a penguin.

The movie is a paid holiday for its director, Harold Becker. I say this because I know what Becker is capable of.

You’ll hear the warning bells signifying a Category 5 Pretentiousness Alert right from the start of the ponderous and stiff psychological drama “Elyse,” and it’s not a false alarm.

Eyes of Laura Mars tries to say Serious Things about fashion photography, corruption in advertising, and the violence in our society. It does not succeed, but it tries. We would not, however, hold its Serious Things against it, if the movie also succeeded as a thriller. It doesn't, unless your idea of being thrilled is having people leap out of the shadows and then turn out to be friends.

The problem with The Amityville Horror is that, in a very real sense, there's nothing there. We watch two hours of people being frightened and dismayed, and we ask ourselves... what for? If it's real, let it have happened to them. Too bad, Lutzes! If it's made up, make it more entertaining. If they can't make up their minds... why should we?

Plays like a collision between leftover bits and pieces of Marvel superhero stories. It can't decide what tone to strike.

Would it have been that much more difficult to make a movie in which Tom and Sarah were plausible, reasonably articulate newlyweds with the humor on their honeymoon growing out of situations we could believe? Apparently.

If you're a fan of extreme skateboarding, motorcycling and motocross, this is the movie for you. If not, not. And even if you are, what's in the film other than what you might have seen on TV? Yes, it's in 3D, which adds nothing and dims the picture.