This is strictly formula stuff, made worse by an utterly careless depiction of the characters.

It's monumentally coarse and vulgar, aimed at the mentality of a 14-year-old locked inside his father's liquor cabinet, and nothing about it is funny, least of all Adam Sandler.

Lackluster mob picture.

At least one chapter in the yet-to-be-written book "When Bad Movies Happen to Good People" belongs to the folks of Company Man.

Here's the tricky thing about The Strangers. Sure, it uses cinema to ends that are objectionable and vile ... but it does it well, with more than usual skill.

Measure of a Man is intended as a touching coming-of-age film about one crucial summer in a young man’s life. But it’s a movie of gestures and feints, in which we’re constantly being told of events and relationships rather than seeing or feeling them.

What follows is everything a story like this demands — car chases, shootouts and trying to stop an explosive device by cutting the right wire — but there’s little fresh here.

The film itself is wretched. A grueling, numbing black hole.

When you strip away the novelty of it all, we’re left with little more than a kids-meal version of “Scarface.”

What a waste.

Aspires to the breezy esprit of a Richard Lester comedy from the '60s, but it's a deadly, leaden affair.

Spins an unconvincing, miscast noir tale.

It's the cinematic equivalent of an all-dessert meal: After the initial jolt, the lack of any real nourishment is apparent, and it becomes a struggle to stay awake.

A soul-killing sequel that gets its kicks torturing and murdering children and offers little hope or redemption. King has long wanted to commit “Redrum” on the reputation of Kubrick’s film, which he openly despises. Nearly 40 years later, this adaptation of King’s 2013 book “Doctor Sleep” doesn’t so much tarnish Kubrick as embarrass itself.

This is the downside of Roberts' giant success and her dazzling ability to charm: Every time she goes plain, as she did in the little-seen "Mary Reilly" and "Michael Collins," our princess simply fizzles.

There's nothing here but a concept and a marketing and merchandising strategy, at the center of which somebody - oh, no - had to come up with an actual movie.

An entirely unconventional, hypnotic, meandering film.

Not since "An American Werewolf in London" in 1981 reset the standard for man-to-wolf transformations has anyone tried to get away with special effects as pitiful as the ones in this movie.

Doesn't look like a movie somebody made. It looks like a movie somebody hallucinated and put up on the screen.

But their comic talents are completely wasted by an inane script whose idea of humor is to make jokes about lung cancer and the notorious Tuskegee experiment on black men with syphilis. [20 Jan 1998]

A coming-of-age story that gets it all wrong.

But the film written, directed and starring stand-up comic Hitoshi Matsumoto has, like most superheroes, a tragic flaw: It isn't funny.

Maybe Glazer’s movie will be of use to people naïve enough to believe that nobody without horns and a pitchfork can be the devil. Everybody else will learn nothing from this film.

Chinese Portrait is a great art installation, but a thoroughly unsatisfying film.

At times, it actually hurts to watch.

The movie equivalent of an idiot who, to avoid scorn, starts acting like an even bigger idiot, so as to get in on the joke, too...It takes everything and nothing seriously, depending on what the filmmakers think they can get away with at any given moment, and the result, while not painful to watch, is ridiculous.

While many of the film’s action sequences are in slow motion, it’s the story’s narrative (credited to Snyder, Shay Hatten and Kurt Johnstad) that really crawls.

Represents his (Smith) first act of cinematic cynicism, his first crime against his own talent. With this action comedy, he has given us 110 worthless minutes, a bad formula movie like every other bad formula movie.