A few bodies pile up. Surprisingly little sex is had. And given that Catherine's true nature was revealed at the end of the first "Basic," the mystery seems superfluous.

This one has all the usual cliches. The serial killer. The strip joint scene. The bad-tempered superior. The villain that won't die. The graphic gore. Hauer plays a suspended cop, of course. To these it adds a fairly creative scene of Hauer and Duncan stalking and shooting at the beast in a morgue, plus very damp streets and a vision of the future that is bleaker than usual. [2 May 1992, p.C04]

With his customary sensitivity, director Bert I. Gordon ripped off Them! as well as his own Amazing Colossal Man. Nutty as it all is, it takes a sudden lurch into deeper nuttiness at the end. [09 Aug 1996, p.37]

Fonda, playing grandmother to this clan of narcissists, is the only one who keeps her dignity. She's funny and low-key and deserves better comeback material than this and "Monster-in-Law." The other two actresses are humiliated.

An atrocious Robin Williams vehicle that might be Hollywood's first anti-romantic comedy.

The ensemble actors give it their all, and that's as it should be in an absurdist comedy of this sort.

Everyone on screen looks like they'd rather be anywhere else than under the control of novice director Dustin Marcellino, whose first (and hopefully last) feature this is.

Swings wildly but falls flat.

A resolutely awful film, it makes you want to swear off sex, comedy, Rupert Everett movies, flowers, yoga, children, roast beef -- many of the best things in life, in fact.

Working with a weak script and too lightweight for its freakier moments with Green, the picture never gels. Green's the star, but he really should be in a movie much weirder than this one, a film that can accommodate his humor.

Has cheesy effects and a hoary plot, but its macabre, self-deprecating sense of humor makes up for a lot.

A nitwit script, full of pedestrian dialogue and building to a laughable climax, dooms the picture.

Although it contains crime and absurdity, it's not thrilling or funny and the title doesn't refer to a gun.

If ever a film was fit only for straight-to-video release, it's this one.

Taking the film as a thriller, it's neither exciting nor scary, hampered by a middle that plays much too long.

This is one of those movies that also hand reviewers a ton of their own quotes as ammunition. Perry, just summing it all up: "I've never been this confused in my entire life!"

If the film doesn't touch the original, it doesn't hit rock bottom, either.

Though it's enjoyable, you can't help but feel the squandered situations and talent, flattened by mediocre writing and direction. Scoff if you will, but the gifted Sandler and his audience deserve better.

"Tootsie" meets "Hoop Dreams" in Juwanna Mann, and they don't get along. This basketball comedy turns out to be a total drag -- in both senses.

A special-effects-and-chase-to-the-death movie, with little special about it.

I still kind of find myself admiring the actor, and the film. Love Guru is insane and self-indulgent but also fully committed, and there's a surprising undercurrent of earnestness to its philosophy portions.

As sometimes occurs in unsupervised experiments, the result proves foul-smelling and potentially toxic.

At what point does The Condemned turn from a stupid-fun action movie into something unpleasant and hypocritical?

As to claims that the book provides a path to enlightenment, I'm an agnostic. But I can swear on a stack of ancient scrolls that the movie plays like 90-odd minutes of purgatory from which you feel you may never escape.

Whatever stinks in this theater, it isn't love.

A grating experience from start to finish.

Simply something you don't want to touch.

Apparently, you can lead a Prinze to a movie, but you can't make him act.

A vile, stupid and ugly movie lacking utterly in pep, thrills, humor, finesse or morals, a dissipating waste of time, money and human resources.

The story is as predictable as it is saccharine. Apart from the presence of local landmarks, there's no reason the Rose City should be proud of this effort.

Spoiler alert: It can leave you feeling kind of empty and sad! It's pretty, icky and boring all at once, and feels like nothing so much as an unusually depressing Ban du Soleil commercial.

Corky Romano is merely grating. Until he finds a better director than Rob Pritts, Kattan's best bet is to stick with "SNL" impresario Lorne Michaels.

Myers' Cat, with a voice that crosses Bert Lahr's Cowardly Lion with Mel Blanc's Bugs Bunny, is generally fun, possessed of an anarchic playfulness that balances his sometimes bawdy tendencies.

An ugly and insipid film.

Once in a great while -- usually late August -- a movie comes along that's so lame, it doesn't deserve a bad review. It deserves a war-crimes tribunal. Ladies and gentlemen, Underclassman is that special film.

Has all the gross-out humor but none of the goofy sweetness. It also has neither of the Farrellys, which is agonizingly evident throughout.

A dull parade of violence, calculated sleaze and midlife angst. [08 Feb 1989, p.D05]

Has a curious train-wreck quality to it that keeps you watching and thinking. (Even if you are thinking things like, Why were these lines ever written? When you hear the "turkey" line, your jaw will drop.)

A lazy, trite comedy that's made by people who don't care either.

It's a lame, gender-mixed, mistaken-identity, cross-dressing comedy: "Some Like It Tepid," if you will.

A forehead-poundingly bad picture.

Fails to be resonant and, more important, scary.

There are moments of pleasure, humor and, yes, terror to be had here all the same.

A shabby, joyless, 90-minute slab of "advertainment."

A movie of such rank stupidity and appalling taste.

Some clumsy nips and tucks later, Fair Game still doesn't make sense, and Crawford's performance still cracks you up. [03 Nov 1995]

A disappointing venture. If only it had been more clever, perhaps darker.

A caustic, raunchy, often hilarious examination of how men use women.

A ghastly, unappealing mess that lacks a single absorbing character, engaging story line or entertaining snippet of dialogue.

Tommy Wiseau's film oozes sincerity, which is then slathered in a thick coating of oblivious narcissism, and sadly serves as an example that not everyone should follow their bliss...It's the emotional earnestness that places The Room squarely within Susan Sontag's famous definition of pure camp.

I am not qualified to refute every claim made in this movie, but I have seen enough topical documentaries to have a good idea when a filmmaker is not being entirely honest with viewers.

Director Hirokazu Kore-Eda ("Maborosi") brings gentle irony to the samurai genre with Hana.... It's a winner. [4 May 2007, p.38]