[Aldrich's] aiming so low in The Choirboys that he's even lost his technical competence; the movie's not just fetid, it's inept. [02 Jan 1978, p.59]

Matthew Lillard of "Scream," flies like his nickname and tries to bring the film some comic relief not already provided by the stultifying stupidity of the script.

As dumb as Looker is, it's not dull, and Crichton does pull off one very funny sequence--a black comic climax in which corpses and commercials become hilariously intertwined. lt should have been a skit on "Second City Television." [2 Nov 1981, p.108]

Rourke, a good actor, is reduced to doing his whispering-wacko shtik. Supermodel Otis has a marvelous face and can smile and breathe heavily at the same time. Only Jacqueline Bisset gives a real performance, as Claudia, a fiscal whiz who gets her real kicks not form the carnal but the commercial. [7 May 1990]

The folks who served up this formulaic swill seem to think comedy grants you a free pass from credibility. Our lonely hero's artificial Yuletide enthusiasm is more than odd: it's not recognizably human.

The flick's ultimate flaw? For a movie about space travel, it's an awfully uninspired trek.

After the schadenfreudian thrill of watching beautiful people humiliate themselves wears off, it has the same annihilating effect on your will to live.

It stinks. The movie is so inert -- and Madonna’s performance so starkly amateurish -- that it’s impossible to take it seriously as an allegory about class and gender.

Bad, but not criminally so.

Comedy is no laughing matter; when a joke dies, the joker -- as well as the audience -- dies a little, too. At the end of Richard Pryor's latest comedy, The Toy, the viewer may require emergency medical attention. Shapeless, noisy, vulgar, sentimental and amateurish... [13 Dec 1982, p.83]

If you harbor any fond feelings for the original, stay far away from this mess.

A disaster: dull, predictable, at times cringe-worthy.

This is an elaborate production, but all the jazzy sets and explosions in the world can't disguise the story's complete lack of urgency.

Pseudo-lush but crummy flick. [15 Mar 1982, p.78]

The best and perhaps only way to enjoy Saturn 3 is to pretend that you're watching a "Saturday Night Live" parody of Saturn 3. Imagine that Harvey Keitel is one of the Coneheads, that Kirk Douglas is the guest host, lampooning his own overemphatic acting style, and that Farrah Fawcett is, well, Farrah Fawcett. Viewed in this light, the unintentionally risible dialogue by Martin Amis becomes sparkling comic repartee. Keitel to Fawcett, with nary a flicker of expression in his voice: "You have a beautiful body. May I use it?" [10 March 1980, p.88H]