Insulting to anyone with a healthy sense of humor and the simple desire to laugh.

Despite some forced lines and an overlong competition sequence, Holland holds The Wizard together well, supplementing the obvious stand-up-and-cheer climax with a moving conclusion. [15 Dec 1989, p.12]

The way I see it, anyone who's made up his mind to see Deuce Bigalow: European Gigolo deserves everything they've got coming to them, and with any luck, they might even enjoy the movie's willfully offensive gutter humor.

Jack and Jill contains long stretches of squirm-inducing tedium in which Sandler riffs and ad-libs far longer than he should.

It is absolutely, inexcusably terrible.

Dumb cliches run amok.

The better children's movies offer a subtle level of humor to keep the adults entertained while the kiddies enjoy the basic story. [03 Jul 1986, p.D8]

An exploitation film if ever one was made. [15 Feb 1985, p.D10]

Feels like it's been pasted together from 51 other movies -- none of them good.

The trouble starts with the script, and it doesn't end there.

A cheesy horror film can offer a vicarious cheap thrill or two. Darkness Falls offers only a test of the patience, not even providing much chance to laugh at the sheer ridiculousness of its villain.

Do not, under any circumstances, consider taking a child younger than middle school age to this wallow in crude humor.

A sporadically hilarious, acid-tongued romp through the darker sides of romance that refuses to back down.

Hot to Trot is such a poorly executed comedy it boggles the mind. Even a horse's mind. [31 Aug 1988, p.D3]

Yes, it's every bit as brainless as the trailers suggest.

Unsurprisingly, relentlessly awful.

The timing is off, the gags lame, the twists predictable, the crudity rampant and unamusing.

New Year's Eve is not unbearable. It's not bad, but it's not good, either. It delivers exactly what you expect: pretty faces, shallow romance and a mythical fanaticism about an event in a friendly Manhattan unblemished by hyper-vigilant security measures, obnoxious drunks or New York Jets fans.

Getaway makes the Transformers movies seem like they were shot in slow motion. You see all these vehicles smashing into each other, but the movie is never thrilling.

For the most part Blame It on Rio is witless, predictable and bland, despite Donen's fascination with the topless-beach scene (his camera combs the shore for breasts with the unsubtle fervor of a pig rooting for truffles). [18 Feb 1984, p.D7]

They pull it off, but even if you believe in Santa, you'll never believe that this is any sort of holiday classic.

A shockingly, unbelievably bad movie.

In Chopping Mall the conflict is merely an excuse for a repeat of the kids vs. slasher formula. Nothing heavy here, just the predictable deaths of the couples who went "all the way," the survival of the virgins, and the best exploding head sequence since Deadly Friend. [05 Nov 1986, p.D6]

The brothers (Farrelly) produced Say It Isn't So, which bears their stamp in every frame and features all of the elements their movies are known for, except one: laughter.

May not be a work of fiction but, despite its many minutes of real footage, it is far from being a documentary. Lack of truth in advertising notwithstanding, the story of this Colombian cowboy deserved to be told.

In the romantic comedy Mannequin, a dummy comes to life. The movie never does. [18 Feb 1987, p.D6]

Part II is even dumber than Meatballs, which was plenty dumb enough. [01 Aug 1984, p.C4]

In the end, Bratz celebrates something even more important than good grades or good friends: the vital acquisition of totally awesome shoes. Fitting for a movie that exists only to separate you from your paycheck.