Some actors steal scenes. Tom Green just gives them a bad odor. This self-infatuated goofball is far from the only thing wrong with the clumsy comedy.

Surprising less moldy and trite than the last two.

Sadly, the concept of dialogue is totally lost on the makers of Venom, a laughably bad example of teen-scream movies.

Not as worthless as you may have heard. [10 Sept 1993]

A sappy, often absurd disappointment, another would-be inspirational romance that, like Costner's overwrought "Message in a Bottle," is impossible to swallow.

Jason X conjures up more giggles than scares, assuming you make it through the first 15 minutes.

A major problem is that "Encino Man" clings to a shopworn coming-of-age formula instead of taking advantage of the far more original idea that sets it in motion. Dave's story is constantly overshadowed by the potentially much more entertaining spectacle of the caveboy's adjustment to contemporary life. The subtext has pretty much gobbled up the movie's center, leaving it severely out of whack. [22 May 1992, p.B2]

That`s right, Fever Pitch receives ''zero stars,'' a rating given infrequently and most often to a film that is morally offensive. There`s no other way to describe Fever Pitch, which, aside from its multitude of filmmaking sins, has the gall to do a complete turnabout with its ending, twisting a supposedly antigambling, message movie into nothing less than a promotional film for casino betting, feeding off the chronic gambler`s pathetic hope to ''get even'' through one more toss of the dice.

For those who recall those old Classics Illustrated comics of the 1940s and ’50s--and even for those who don’t--there’s an endearing, earnest quality to The Ten Commandments that transcends its star-studded cast and computer-generated animation.

Part gambling heist, part graphic novel, part metaphysical mumbo jumbo, Revolver is a mess of many colors, few of them satisfying.

The film's big lap-dance sequence is impressive, however, if only for the sheer athleticism of Elizabeth Berkley's contortion. Later, when she pulls the same stunt in a swimming pool, we recognize the show for what it is--a male fantasy film in which the women are little more than rag dolls. [22 Sept 1995]

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

One of those movies that starts like a house afire, catches you firmly in its narrative grip and then suddenly blows itself out, not really going out with a whimper but with a big, bad, ludicrous bang.

The biggest script flaw is the curious lack of cause and effect in the relationship between Jack and Ed.

Call it "Clash of the Whitans," and call it a folly that doesn't have the energy or delirium to qualify as entertaining crap. It's just crap.

Many will find Apollo 18 silly and derivative. It is. Yet it's also a break from the usual hyperbolic, down-your-throat brand of silly and derivative scare movies.

So laden with forced plot twists that it will never be able to recover.

Most of the problem with this movie is that Ernest is too much of a cartoon to carry such exposure, particularly since he hogs most of the scenes. The other characters, even the children, behave like cardboard props.

You have to have faith that kids will recognize a bad movie when it's foisted on them -- and they don't get much worse than The New Guy.

Newbie director Richards shoots all the women like slabs of meat, and his self-seriousness throughout London--some of it tries to be funny, a lot of it is funny by accident--borders on the delusional.

The storyline isn't coherent, the music stinks, the characters are one-dimensional, the dialogue is insipid and it is neither funny nor romantic.

Superman IV is a pathetic appendage to the series, a dull, shoddy film that makes the minimal 1950s TV series seem rife with production values by comparison. [27 July 1987, p.10C]

One redeeming feature of this picture is that it will make great fodder for those make-fun-of-the-movie TV shows.

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.

A big, empty picture full of star turns, artificial energy and jokes that don't quite work, even if stars Willis and Perry do their best to slam them across.

A fast, slick, outlandish fiasco that starts out well and then seems to drop right off a cliff.

A mess of a movie, a no chills nightmare about what happens to a group of rubes at a Carolina truck stop when the machines go nuts. [29 July 1986, p.3]

Another slapstick comedy from the folks who created Police Academy by ripping off the comedy style of Airplane. [22 Apr 1985, p.4C]