Apocalyptically awful romantic comedy.

The problem is that these stoic warriors infect Act of Valor with more wooden acting than you'd see at a ventriloquism school.

Robert Altman's Kansas City is a hollow period piece, a costume melodrama that's all jazzed up without a story to tell. [16 Aug 1996, p.4]

Parents in a masochistic mood can compound the headache-inducing experience by paying extra for the 3-D version.

Where the first pic breezed along with gags and gunplay, this forced follow-up is artificial to the hilt - fueled on a kind of trying-too-hard hilarity that makes even good actors look bad.

It's getting tiresome, this stuff.

A high-end version of "The Texas Chainsaw Massacre" set in the rarefied bistros, boites and brokerages of Yuppie Manhattan in the 1980s.

It's hard to say with certainty whether it's insufficient plot or insufficient interpretation that's responsible for Travolta's waxwork performance.

An unfortunate collision of earnest coming-of-age cliches and off-key acting, Evergreen almost, and certainly unintentionally, presents itself as parody.

If the moral of Click is a stop-and-smell-the-roses bromide about how family comes first, the real message of this sappy, potty-mouthed seriocomedy is that a steady diet of Drakes and Hostesses will do you no good.

There's nothing remotely fantastic about this Fantastic Four.

The kind of saccharine exercise that ought to do wonders for the cause of atheism. [15 July 1994, p.03]

Four film sequels and 14 years later, the best I can say of Ice Age: Collision Course is that it has nice coloring and good picture contrast.

The glitter and clinking of Rodman's collection of body jewelry are supposed to blind one to the dopiness of the screenplay for Double Team. [4 Apr 1997, p.10]

It's highly doubtful that you'll grasp even a little of The Truth About Emanuel after seeing this film. It's not so much a thriller as it is a ride on a runaway crazy train.

Just a big chunk of waste flushed from a Hollywood studio.

Eye for an Eye's filmmakers have climbed on some high horse of social commentary, pretending this stalk-or-be-stalked suspenser is a meaningful drama about a wayward justice system where the rights of criminals supersede the rights of victims and their families. But what about the rights of moviegoers? We deserve better than this. [12 Jan 1996, p.05]

All things are possible, Julie-san, Miyagi constantly encourages his young charge. All things may be possible, Miyagi-sensei, but not this movie. [10 Sep 1994, p.D9]

At 116 minutes, this third installment lumbers along like a serial killer in shackles.

A schmaltzy, deeply sentimentalized drama about American slavery and the rise of the Underground Railroad.

If Stealth were a recruitment film for aircraft-carrier duty, one would be tempted to say, "Mission accomplished." As a feature film, it's a washout.

A dull, drab and pointless rehash, Walking Tall ironically manages to diminish the Rock's stature as both a leading man and an action star.

OK, they squeezed one more lap out of this franchise. It's been a fun ride, but it's time to shut things down. If you get my drift.

A predictable, by-the-numbers TV-movie-sized affair which will break your heart - especially since it also contains brief flashes of horror greatness.

At one point, Statham chases down a sports car while pedaling madly on a kids' bike. Pathétique!

Essentially a series of walking character sketches. The storytelling is slack and lackluster, the cliches rampant.

The ads for The Sweetest Thing promise that if you loved "There's Something About Mary" and "My Best Friend's Wedding," then you can't miss this latest Cameron Diaz vehicle. Well, miss it.

Mike Myers, responsible for the picture's one, or possibly two, laughs.