Floating this material slightly above the assembly-line level is the energetic cast and the efforts of writer-director Kris Isacsson.

A standard morality tale, and looks especially weak in the shadow of "Eyes Wide Shut" and "Fight Club," which it resembles.

Visually stunning but emotionally shallow.

A nonsensical mishmash.

Has some good throwaway gags -- but far too often, the moviemakers don't throw them away soon enough.

An often gorgeous, dizzying assault of ideas and visual flourishes...it's just not very good.

It just doesn't work. Worse, it's downright offensive.

An excruciating misfire.

One of the least endurable films of 1999.

So very general in its characters and story that it actively keeps you from enjoying the simple pleasures of a movie like this.

Cripplingly lifeless.

I can't imagine why De Niro, who is a fine comedian, is still coasting on his gangster act, and surely Crystal can do something other than play himself...it feels a little like an exercise in laziness.

A painfully unfunny movie.

The whole picture is lifeless and without consequence.

The real problem is that it's not a very good Hollywood film, and its flaccid style, cardboard characters, and paint-by-the-numbers plot make watching it a chore.

The visual fireworks and catchy score just underline the extreme superficiality of the material.

A long portrait of someone who outstays his welcome fairly early on.

Doesn't have the courage or inclination to go inside of Dick's ideas, or offer any kind of structured or detailed approach to his thinking or writing.

We all have childhoods to remember. Art needs to do more than just remind us.

As with most non-Disney animated features, Trumpet of the Swan does make the Mouse look like a genius.

This overdone project dissipates its energy in strange ways (sudden shifts to black-and-white, as though hailing the spirit of Oliver Stone and that other Costner JFK movie), and makes you wish its makers had shown the same restraint the government did during the crisis.

Little entertainment value.

The new dud from Miramax's Dimension label.

It may have a good liberal conscience, and genuine sympathy for the rare perspective of a homeless person, but this movie is a fundamentally sentimental exercise.

A terrible, tired piece of filmmaking.

It’s just boring – and boring in a way that apparently has no endgame.

Charlize Theron has charm and skill, but no actress could survive this role, which has the gravity and verisimilitude of a sketch from a late-sixties Nancy Sinatra TV special.

A largely unenlightening work.

A One-Joke Show.

Quite shameless in imitating its predecessors.

Naming aside, Epic could have been good, except that it wasn’t, it was stone cold terrible, something even a six-year-old might scoff at. I know, I’m just as sad as you are about the whole thing.

Gets my vote for the summer's most offensive movie.

In trying to avoid moralizing or cheap sensationalizing, Didier sidestepped any energy force altogether and his film snoozes because of it.

The collapse of Office Space's second half is so egregious that one can't help but suspect Judge's Achilles heel may be his writing. It's not that he can't write -- it's just that his ideas tend to shine better within a pool of fellow scribes, as proven in his television career.

By any measure, 'Temptation' ranks amongst Tyler Perry's worst.

The small reward is the cool, confident presence of DMX, who shows signs of being a great leading man. But only in a much smarter, more original movie.

Appalling because it never transcends its adolescent-boy glee at being allowed entry to the highly sexualized arena of prostitution.

Plainly unfunny.

The best word to describe it is strange, though it could have been halfway decent (yes, all the way up to halfway decent) if the third act hadn’t succumbed to the crescendo of craziness that had been building for the first hour.

The Lifeguard is a painfully dull (alleged) drama utterly lacking in originality or self-awareness.

This is a story that has everything you’re looking for, provided that you’re looking for absolutely nothing.

“Expendables 3” has fewer nauseating clichés than The Judge.

Even when compared against other films that have been adapted from Nicholas Sparks novels, Safe Haven is terrible.

The most frightening thing about the franchise at this point is that it just keeps on going, undaunted by the characteristics by which the first film made its name. Family is still family and a brand is still a brand, but the blade… well, it’s only grown dull.

Assisted by passionless central performances and dull dialogue, Mungiu succeeds only in exhausting our patience, not in conveying a message.

Yes, surely for them, the lucky few and probable many, 21 and Over will be the Best Movie Ever. For the rest of us, though, it’s something of a chore.

A relentlessly unfunny, charmless send-up of better films with better ideas.

The film blinks too fast to maintain a coherent vision.

Everyone will be indifferent, as indifferent and uncaring as the characters the film portrays.

Fading Gigolo wants to be some sort of sunny tapestry about New York’s social groups, but it’s impossible to see past its absurd premise.

A frenetic spoof of 1961's disastrous Bay of Pigs invasion, Company Man is likely to be forgotten quickly by audiences.

Nearly incomprehensible story.

There's a lost opportunity here.

Watching Left Behind's plodding screen adaptation may make you feel the Deity has already abandoned us to a shockingly dull post-apocalypse.

Sarandon prostitutes her blazing talent and sharp political sensibility to the service of a pile of misogynistic bullflop.

Mr Kumble: Keep your hands off the classics! You don't deserve to read them, let alone paraphrase them.

Mostly dreadful.

Are two Demis better than one? How you answer will determine the level of patience you'll need to sit through this bizarre pet project.

If you're already a huge fan of any of these artists, this film will be a lovefest. For all others, it's a mild diversion at best.

If you've seen one "Scream" rip-off, you really have seen them all.

A crap film that's steeped in liberal paranoia, but it's also so ludicrous that it falls under the guilty-pleasure category.

One imagines what the failed farce Drowning Mona would have been like in the hands of the Coen brothers.

Lyonne, as usual, does her best...but she's running uphill.

Chaotic, peurile, loaded with sniggering commentary and obsessed with breasts, Saving Silverman is like a 90-minute walk through a 13-year-old boy's head.

Despite this chance to experience something thrilling and new, her life is just as dull the second time around.

Dumb and irritating.

I just really, really, really, don't like this movie, and I don't care who knows it.

Sly, slick and slow.

Has its - very - occasionally funny moments, so does a car crash.

A bad movie about a great man.

15 Minutes is simply a bad movie.

Despite a lead performance by the always welcome Julianne Moore it is rudderless in its presentation and outright stupid in its central conceits.

A clumsy and tone-deaf comedy.

The worst thing you can accuse an unutterably bad movie of is sincerity.

Looks and moves like a film whose vital organs were yanked before shooting commenced.

A dismal film, a flop as both 21st-century romantic comedy and gay "Kramer vs. Kramer."

Self-conscious clunker.

Pandering and tired, Down to Earth lurches from one dead gag to the other, in search of both comedic rhythm and a dramatic pulse. It finds neither.

It probably helps to be loaded while you're watching this movie.

This anti-narrative screwball comedy, a sort of police-drama re-enactment of Fellini's themes in "8 1/2," keeps most of the jokes off-screen.

Horribly slapdash affair.

It's just not funny.

It's hard to think of a single memorable line from Restaurant, even a memorably bad one.

Borderline incoherent.

Slouches in as a weightless, instantly forgettable picture.

It's little more than a loose assemblage of Hollywood action movie formulas: "Dirty Harry" and assorted cop/buddy flicks are the clear models for the movie.

Good vs. Evil For Dummies....and I, for one, dislike being treated like a Dummy.

In the end, Butterfly is an infuriating film because it's so very contrived, so annoyingly phony.

It does... apply Kitano's black-comic style to a different setting, and individual scenes sparkle with unexpected jokes, twists, and occasional cruelties.

I don't like Say It Isn't So, but I understand its karmic inevitability.

For a movie with the ostensible mission of spreading the Gospel, it does a poor job of speaking to anyone except the faithful.

Tired, overcomplicated mix of macho bullshit.

These are good people, yet the director has them carrying on like community theater actors playing to the balcony. It isn't fair to them, and it isn't fitting for Shakespeare.

It's sporadically funny but often unfunny, the latter worse than not being funny enough.

Dreadful suspense piece that has "Mystery Science Theater" appeal written all over it.

Slow-moving and violent mess...feels slow even at a scant 82 minutes...Even by the slack standards of Van Damme's oeuvre, "The Return" is a letdown.

Maybe Kevin Bacon can use the Twinkie defense to explain Hollow Man.

Could have afforded to be a little loftier and still be quite funny. Instead, it's a waste.