Wilson and Hathaway don’t click. The characters feel as if they were workshopped separately, and efforts to combine their comic energy on screen fall flat.

The fact that it’s a Razzie contender, of course, is no reason not to see it. In fact it could be an inducement — Razzie movies can be quite fun.

The Happytime Murders is a good idea executed badly, or at least one that is trying too hard to be shocking.

At times, Jarecki seems to be actively avoiding insight and empathy.

Gotti ends up feeling like a kitschy assemblage of other directors’ ideas.

There is the potential here for an engaging adventure/survival tale, wrapped in a story of a woman finding her self-confidence by drawing on untapped reserves of strength. But Kormákur fails to find any shape in the narrative of Tami’s actual or psychological journey.

The internal logic of the movie is complex, confusing, and as a result the movie is not very much fun.

Stories about the way men and women negotiate sex, power, money, work and relationships — Anastasia ends up working for a company Christian owns — should make the Fifty Shades trilogy relevant and exciting. They are, somewhat mysteriously, the opposite of that.

A very sloppy piece of work, apart from the cinematography, which is pretty, and the Mills Brothers songs, which are fantastic.

It all feels flat-footed and pretentious.

Forster does some interesting visual work here to suggest the perspective of a person who is (legally) blind, but in general, when your thriller requires the heroic intervention of an ophthalmologist, you’re in trouble.

The Snowman is reminder that movies are hard to make, highly collaborative, often chaotic, and hundreds of things can go wrong. Here, everything did.

The chemistry between these two attractive people and fine actors is unaccountably bad.

I give Elba enormous credit for maintaining a straight face — he and Taylor account for the movie’s few good moments — but the silly script seems to have awakened the dormant ham in McConaughey.

While this movie was somehow able to attract solid talent, Jones, Quaid and even character actor David Peymer have too little to work with. Shakur deserved a better memorial, and the other actors deserved a better script. [8 Oct 1997, p.40]

Frankenheimer and company, perhaps realizing they were making a bad movie, have taken steps to make "Dr. Moreau" gloriously bad, with comical dialogue that can only have been meant to elicit laughter. [23 Aug 1996, p.44]

Hollywood movies with anti-profiteering themes always strikes me as tacky. We're talking about an industry, after all, that sends trade reps all over the globe, lobbying other countries to prosecute anyone trying to dupe a copy of "Waterworld." There is a cheaper way to protect U.S.-made movie products. Keep making movies as bad as "Chain Reaction." No one will want to copy them. [2 Aug 1996, p.32]

It's a pretentious, laughable Hollywood-type bomb that touches on police brutality and government cover-ups, but ends up being a movie about hats. [26 Apr 1996, p.54]

Eye for an Eye reaches campy zenith when Field, newly energized - dare I say empowered? - by her martial arts and weaponry skills, turns into a tigress in bed, frightening her husband. [12 Jan 1996, p.28]

The point of this enterprise is to put the slinky, husky-voiced Fiorentino into compromising positions with as many men as possible and to provide director William Friedkin (The French Connection) with an excuse to stage three long chase scenes. Seems like everybody got what they wanted out of this thing except for us. [13 Oct 1995, p.48]

The picture is apparently intended to mimic the bleak futurism of Blade Runner, but with its cheap look, punk styling and dirty-looking restrooms, Johnny Mnemonic looks more likes a bad East Village nightclub. Furthermore, Longo's staging of action sequences is bland, and he doesn't seem to understand character development at all. [26 May 1995, p.36]

A slow-moving legal thriller that fills the many idle moments with scenes plucked from a random selection of Hollywood standards. [17 Feb 1995, p.52]

One of the worst Christmas comedies in history and certainly one of the worst pictures of the year, Trapped in Paradise is a movie with exactly one laugh. [02 Dec 1994, p.77]

Killing Zoe is the worst kind of bad movie, a violent comedy that's not funny. [14 Sep 1994, p.35]

It's rare that a movie so cleverly conceived is so poorly executed.