Hit & Run is pretty rancid as comedy. Worse, the chases are strictly amateur hour, all shortcut editing and no gut satisfaction.

A mild and static attempt at sincere camp.

A lot of the rougher stuff, depicting Ig's late-inning vengeance, is sadistically misjudged. It's hard to jerk tears a beat or two after gleeful rounds of brutality, even if it happens to, or because of, dear wee Daniel Radcliffe.

Lacks the meanness of so many recent gross-out comedies. With the sparkling Diaz leading the way, the lame humor is much more palatable.

Jumper, the film, goes everywhere and nowhere.

The film may be bad-and mad-but it's not predictable.

Everything happens quickly in Fatal Affair, since it’s all plot and no character. These movies are what they are: disposable; full of shiny, unstained, high-end kitchen countertops.

IF reminds us how certain key ingredients — charm, wit, clarity, emotional tact and resonance — cannot be willed into narrative existence, or fixed in post.

Falls prey to a boatload of screenwriting cliches that sink it faster than a leaky freighter.

The Favor is a sex comedy without sex-and pretty much without comedy. [29 Apr 1994]

The derivative nature of it all wouldn't be so bad if the script and acting weren't so plain and unenticing, while the adventure and the plot-the future is dominated by tyrranical baddies whom Swayze and the ranchers valiantly battle-are slow-moving and mostly empty.

The pretty, empty, emotionally frictionless and touch-free new Rebecca adaptation may suit the pandemic dictates for social distancing, but the drama fails to spark.

This lazy sequel is a lump of coal in a dirty stocking.

This is what happens when someone doesn't make a sequel to a hit movie fast enough. Someone else, with a lot of brass, makes a ripoff that is even less satisfying. [19 Aug 1988, p.A]

Often ridiculous, mostly poorly written and, surprisingly poorly acted too. No matter how many flashy scenes the filmmakers shoot, the bad lines just keep dripping down. [21 Aug 1998]

As generic as its title, College Road Trip feels like a first draft, the one the studio brings to the rewrite team that, in this case, never got hired.

Tries mightily to give these warmed-over cliches the proper seasoning, but in the end, these leftovers fail to satisfy. [12 March 1999, Friday, p.L]

Is it a political movie? Yes. A movie with strong ideas and issues? Yes. But propaganda with its heart in the right place is still propaganda, and seldom easy to watch.

Strangely unmoving. So what went wrong?

The ratings board gets all twisted up about sex and skin, yet it cannot give you or your kids enough ax blades to the cranium. This week's evidence: the remake of the old Wes Craven horror item, The Hills Have Eyes, which should not be rated R. It should be rated NC-17, or ITTS-OW, which stands for Is This Thing Sadistic, Or What?

High-minded sleaze, the film deceives you with its first 10 minutes, which are interestingly creepy.

It's a juicy premise, but the enactment is so dumbed-down -- by turns preposterous and predictable -- that you couldn't possibly fault your jaded children for yawning and rolling their eyes.

Airborne is a fairly shameless little picture, but at least it follows the First Rule of Cinema. It gives us something interesting to watch: the climactic hill race, with the largely unidentifiable racers zooming and hurdling one another on hairpin hillside curves...Unfortunately, Airborne also follows the First Rule of Bad Movies. Instead of telling a story, the filmmakers follow an outline (or, in this case, an in-line).

Carell's pal and "Daily Show" colleague Jon Stewart has a cameo as himself, one of a chorus of godless media star non-believers who do not see God's larger plan for Evan. Yes, well. At least "The Daily Show" is funny.

The pacing throughout is languid. Your eye becomes fixated on the hideous 70s wallpaper behind them. If only the story's interstellar narrative developments had the intensity of that wallpaper. Rod Serling might've gotten a great hour out of it (the story, that is, not the wallpaper). It simply is not two hours' worth, no matter how many quantum leaps into the unknown Kelly takes.

Noisy, cut into a head-snapping blur with little room for Cena to even try showing emotion, 12 Rounds is an occasionally exciting but always empty experience.

It's Bay World. And after an hour of Pain & Gain, it felt more like "Pain & Pain."

We've since seen plenty of self-satisfied smart alecks, and Freddy, as written and played, brings nothing new to the party.