Leave it to an American production team to remake the same premise into an inarguably worse movie. And this insufferable remake called The Man with One Red Shoe marks the second time in as many years that producer Victor Drai, a former estate developer, has taken a French movie and turned it into garbage. Last year he took the genuinely amusing ''Pardon Mon Affair'' and reworked it with the help of the increasingly annoying Gene Wilder into ''The Lady in Red,'' one of the year`s worst movies.

Isn't much more creative than your average gross-out comedy.

That it is a pseudo-hip filmmaking fantasy doesn't make it any less pretentious, or any less a turnoff.

I found it bizarre and limp and all over the place and not in a good, messy, lifelike way.

An exhaustingly pushy, phallocentric and witlessly smutty spoof of early '80s medieval fantasies such as "Krull" and "The Beastmaster."

Green has made so many interesting movies, from “George Washington” to “Snow Angels” to the best bits in “Pineapple Express” and more recent genre exercises. Halloween Kills settles for the reductive, distressingly anonymous hackwork of its title.

As directed by Ronny Yu, Bride of Chucky shows flashes of visual inspiration, and the script by Don Mancini is laced with tiny nuggets of humor. But overall, Chucky seems to be coming apart at the seams.

Scott treats the material as if it were grist for a 30-second spot or a rowdy music video.

If the writers had the guts (and the jokes) to fashion a bittersweet comedy with a fully earned happy ending, Unaccompanied Minors probably wouldn't have been made. As is, it's a prefab slapstick-'n'-pathos stew that doesn't taste like anything.

A dull, amateurish mixture of the sentimental and the obvious.

Felitta and Reiser mean nothing but well with this project, but too many lines sound fraudulent, and Reiser, it must be said, is a hopeless ham in the reaction shot department.

There is some directorial skill here--Argento should be congratulated for a few interesting storytelling choices--but the end result feels grimy and strangely pathetic.

Numbingly gory when it isn’t just plain numbing.

We have to take the sexual tension on faith, as with everything in this formulaic glob of a script.

There's no reason to look at this movie unless you're interested in computer graphics. But, if you are, why not wait for the video game? It may not be any better,but at least you can turn it off. [17 Jan 1996, p.7]

The idea may sound like fun, but the movie isn't. It's a travesty of a picture that's a disgrace to the memory of the great film from which it's remade. [5 February 1999, Friday, po.A]

The Doom Generation can't help but choke on the poisonous fumes of its own cloudy existentialism. [10 Nov 1995, p.G]

Hanna presents the problem of the well-made diversion that is, at its core, repellent.

Kingsman: The Golden Circle offers everything — several bored Oscar winners, two scenes featuring death by meat grinder, Elton John mugging in close-up — except a good time.

It’s a lame and weaselly thing, made strangely more frustrating by some excellent performers.

Not funny because it's not true.

With not a single original idea in its makeup, Certain Fury has to rely on something else to give it a kick. This it finds in foul language and heavy violence.

This clunky remake can't rise from the ashes, nor would you want it to.

The scenery's nice. But once you've said the scenery's nice, you're no longer talking about a movie worth talking about.

Kollek's fondness for whimsical plot turns adds still more random elements to a movie that at times seems edited by a blindfolded monkey.

On the whole, I'd rather be on Pluto, which isn't even a planet.

The actors take your mind off things when they can: I like the way Hathaway jabs her elbow at the elevator buttons for punctuation, and the ardent commitment to language Ejiofor brings to his character’s public poetry readings. But a movie shouldn’t rely on Hathaway and Ejiofor to shell-game your attention away from the movie itself.

Davis, in particular, manages to create a fully dimensional character in the midst of a highly polemical screenplay.