The Ridiculous Six is sunk by a terrible script by Sandler and Tim Herlihy and some truly cringe-inducing work by a few of the players.

From what dark night of the soul emerged the wretched idea for The Nutcracker in 3D? Who considered it even remotely a plausible idea for a movie?

Very seriously confused in its objectives.

Nothing could have prepared us for the offensively stupid, shamelessly manipulative, ridiculously predictable and hopelessly dated crapfest that is Mother’s Day.

The movie is set up as a valentine to Vardalos. She should try sending herself flowers.

A loud, dopey chase film filled with substandard shootouts.

The film is reprehensible, dismaying, ugly, artless and an affront to any notion, however remote, of human decency.

The lockstep mentalities who made this movie tell their story entirely from a boring male point of view, supply us with male wimps and studs who are equally uninteresting, and view women only as wet T-shirt finalists. What a letdown for horny movie critics.

Not that anyone expected logic, but no one expected the series to so completely abandon much of what was familiar to the audience and become an amalgam of countless other horror-fantasies and pop culture media. [16 Aug 1993, p.24]

The screenplay by Kim Barker requires Bullock to behave in an essentially disturbing way that began to wear on me. It begins as merely peculiar, moves on to miscalculation and becomes seriously annoying.

Has an intriguing cast, a director who knows how to use his camera and a lot of sly humor. Shame about the story. When you see this many of the right elements in a lame movie, you wonder how close they came to making a better one.

Possesses the art and craft of a good movie, but not the story.

This is an astonishingly uninvolving and at times almost laughably melodramatic effort, marred by overwrought voice-over narration from Theron, a relentless barrage of scenes depicting horrific human suffering and a love story featuring one-dimensional characters we don’t particularly care about.

Absolutely nothing in this film suggests wit or talent; much of it suggests very easy money on the video aftermarket. [12 July 1993, p.27]

Has slick production credits and performances that are quite adequate given the (narrow) opportunities of the genre.

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.

People may go to see Eddie Murphy once, twice, three or even six times in disposable movies like Harlem Nights, but if he wants to realize his potential he needs to work with a better writer and director than himself.

There is a bright spot. He (Poirier) used up all his doggy-do-do ideas in the first picture "See Spot Run."

It's a muddled, sometimes-atmospheric effort.

Jaws the Revenge is not simply a bad movie, but also a stupid and incompetent one - a ripoff.

Yes, it is a movie. But just barely so. I’d say it’s more like an excruciating, embarrassing, profoundly unfunny, poorly shot and astonishingly tone-deaf screech-fest featuring some of the least charismatic performances this side of one of those dreadful “reality” shows.

Maybe there's too much talent. Every character shines with such dazzling intensity and such inexhaustible comic invention that the movie becomes tiresome, like too many clowns.

An incoherent mess, a jumble of footage in search of plot, meaning, rhythm and sense.

And above all, the film is lacking in joy. It never seems like it's fun to be Billie Frank.

Dungeons & Dragons looks like they threw away the game and photographed the box it came in.

Let's face it. Nobody is going to Bolero for the plot anyway. They're going for the Good Parts.

Fair Game works as a thriller for anyone who lives entirely in the present.

This movie doesn't scrape the bottom of the barrel. This movie isn't the bottom of the barrel. This movie isn't below the bottom of the barrel. This movie doesn't deserve to be mentioned in the same sentence with barrels.