Monster-in-Law fails the Gene Siskel Test: "Is this film more interesting than a documentary of the same actors having lunch?"

In its own cheesy and entertaining way, Hangman kept me guessing throughout

This is an ungainly movie, ill-fitting, with its elbows sticking out where the knees should be. To quote another ancient proverb, "A camel is a horse designed by a committee." Life or Something Like It is the movie designed by the camel.

So much talent — and everyone goes down with the ship in one of the worst movies of 2021.

A closing scene, rousingly patriotic, takes place back on the football field. I think I'm beginning to understand why the Chinese were not reckoned to be a prime market for this film.

All heart and has the best intentions in the world, but what a bore. It's a beat slower than it should be, it makes its points laboriously, and the plot surprise would be obvious even if I hadn't seen the same device used in exactly the same way earlier this year in "Chasing Liberty."

This is a clichéd, cynical, occasionally offensive, pandering, idiotic film that redefines shameless.

It should be preserved by the Library of Congress, as an example of creative desperation. It plays like a documentary about a group of actors forced to perform in a screenplay that contains not one single laugh, or moment of wit, or flash of intelligence, or reason for being.

Here’s proof two females can make a bickering-opposites-action-comedy that’s just as lousy and sour as any clunker starring two guys.

A lot of the dialogue is intended as funny, but man, is it lame.

The point of the exercise, it seems, is to trap four seemingly decent people, all more or less friends, in a dark, claustrophobic, pressure-cooker environment to see how they respond to the threat of imminent death — or worse. Spoiler alert: human nature doesn’t get a thumbs-up in this one.

Highlander 2: The Quickening is the most hilariously incomprehensible movie I've seen in many a long day - a movie almost awesome in its badness.

Indeed Get a Job is an uneven, strange little movie with a hit-and-miss screenplay, some distractingly weird camera angles and a few subplots that never should have seen the light of day (or the dark of theater), but it also has an infectious charm, some genuinely funny set pieces and winning performances throughout.

Now why did I like this movie? It was just plain dumb fun, is why. It is absurd and preposterous, and proud of it.

Exhibiting high spirits and a crazed comic energy. It doesn't quite work, but it goes down swinging--with a disembodied hand.

The secrets of the plot must remain unrevealed by me, so that you can be offended by them yourself, but let it be said this movie is about as corrupt, intellectually bankrupt and morally dishonest as it could possibly be without David Gale actually hiring himself out as a joker at the court of Saddam Hussein.

Winter’s Tale is a good old-fashioned train wreck of a film. This is one of those deals where all the ingredients are Grade A, but the final product is a dud.

Tells the story of a violent sociopath. Since it's about golf, that makes it a comedy.

[Robin Williams] has been ill-served by a screenplay that isn't curious about what his life would really be like.

Though it would have been lovely to take in the lavish set pieces and the cool CGI creations and the whiz-bang action sequences on the big screen, Artemis Fowl still plays well as a warm and funny and entertaining at-home family viewing experience.

Seventh Son moves at a fairly quick pace and has a sense of humor about itself. That doesn’t mean it’s thrilling, or funny. Just that it’s a quickly forgotten pile of junk.

A disjointed thriller with two many characters rattling around.

It looks great, it hurtles through its paces and is well-acted. The soundtrack is like elevator music if the elevator were in a death plunge. The special effects are state of the art. Its only flaw is that it's disgusting.

The Spirit is mannered to the point of madness. There is not a trace of human emotion in it. To call the characters cardboard is to insult a useful packing material.

The tension between the slimefest milieu and the charm of the performances is maybe what makes Feeling Minnesota work.

That it works as well as it does is because the stars, Damon Wayans and Adam Sandler, have an easy rapport and some good one-liners, and the film is short and manic.

Consider for a moment how this movie might play if it took itself seriously. Would it be better than as a comedy? I suspect so.

Utterly clueless about its tone and has no idea how relentlessly it is undercutting itself. By the time we arrive at the obligatory happy ending, which is perfunctory and automatic, I felt sort of insulted. If Chandrasekhar thinks his audience will laugh at his vulgarity, why does he believe it requires a feel-good ending?