The more you think about what really happens in Cocktail, the more you realize how empty and fabricated it really is.

Everything about this film feels forced, clunky and overwrought.

A dirty movie. Not a sexy, erotic, steamy or even smutty movie, but a just plain dirty movie. It made me feel unclean, and I'm the guy who liked "There's Something About Mary" and both "American Pie" movies.

Pants and wheezes and hurls itself exhausted across the finish line after barely 65 minutes of movie, and then follows it with 15 minutes of end credits in an attempt to clock in as a feature film.

The title gives fair warning. If you watch this movie, you’re in for an absolute, unmitigated, cringe-inducing, “WHAT IN GOD’S NAME WERE THEY THINKING?” disaster.

What's most shocking about Death Wish II is the lack of artistry and skill in the filmmaking. The movie is underwritten and desperately underplotted, so that its witless action scenes alternate with lobotomized dialogue passages. The movie doesn't contain an ounce of life. It slinks onto the screen and squirms for a while, and is over.

You've seen it all before, ad nauseum: Myers' face reflected in a windowpane, Myers appearing in deep focus over the shoulder of an oblivious victim, a strung-up body swinging from an overhang into the path of a screaming character (the Shape has a flair for the dramatic) and lots and lots of screaming characters. [4 Oct 1995, p.51]

The screenplay for this movie bears every sign of being a first draft - a quick and dirty one. The movie doesn’t feel written, it feels dictated. Three authors are listed, and from the way their movie plays, they must have sat around in an office somewhere trying to get all of their cliches in a row.

This movie has nothing to do with the song and the 1960 movie whose name it appropriates. It isn't a sequel and isn't a remake and isn't, in fact, much of anything.

The level of intelligence of the screenplay of "Saturn 3" is shockingly low - the story is so dumb it would be laughed out of any junior high school class in the country - and yet the movie was financed. Why?

Awful in so many different ways.

You can laugh at lines like: "Hey, everybody, let's go inside and eat some cake"; "Leave your stupid comments in your pocket!"; "Man, I just can't figure women out. Sometimes they're just too smart. Sometimes they're flat out stupid. Other times they're just evil." In Wiseau's worldview, if "The Room" were a woman, she wouldn't be "evil" or "too smart." That leaves "flat-out stupid." [12 Feb 2012, p.B2]

Dirty Love wasn't written and directed, it was committed. Here is a film so pitiful, it doesn't rise to the level of badness. It is hopelessly incompetent.

Bad films are easy to make, but a film as unpleasant as Baby Geniuses' achieves a kind of grandeur.

It’s just an awful and ridiculous and clumsily edited B-movie mostly of interest because of the name cast, an insanely horrible concert within the film — and the incredible back story about the making of “Grizzly II,” which could be great material for a fictional adaptation a la “Argo” or “The Big Short” or “American Hustle.”

This movie should have been struck by a lightning bolt.

The question, of course, of why anybody of any age would possibly want to see this film remains without an answer.

Chaos is ugly, nihilistic, and cruel -- a film I regret having seen. I urge you to avoid it.

Watching it, you feel like an eyewitness to injustice.

The acting is effective, the direction by Alexandre Franchi is confident, and the cinematography by Claudine Sauve could hardly look more assured.

Munger Road does an efficient, skillful job of audience manipulation using the techniques of darkness and vulnerability, and the truth that a horror not seen is almost always scarier than one you can see.

The film's value is in its portrait of Ruth, and her independence as a solo outsider in a vast, uncaring city.

You've seen houses with pumpkins in the windows and skeletons hanging from the trees, but you may never have seen such elaborate displays as the ones constructed by Victor Bariteau, Manny Souza, and Matthew and Richard Brodeur.

Yes, it’s another sports movie about underdogs reaching for the stars and winning, but what makes it unique is Starks’ interesting story and the fact that it’s about golf.

The Perfect Wave is aimed at a certain audience that will appreciate its message and let slide its deficiencies.

Hogtown is the most original film made in Chicago about Chicago to date.

Michael Caplan’s Algren is a beguiling appreciation of the novelist, reporter and essayist.

Algren admirer Kurt Vonnegut, a novelist and a Long Island neighbor, called the Chicago exile ”the loneliest man I ever knew.” Caplan and Mueller invite viewers to befriend this contrary figure.