The To Do List is a romantic comedy with no romance and little comedy, but with an ugliness of spirit that's surprising and unrelenting.

How many doubts can Lee possibly cram into one motion picture? Red Hook Summer has almost too many to count: moments that go clunk, followed by others that go clang; actors who talk as if reading their lines off cue cards or rehearsing them for the first time; and set pieces that lie there.

The picture, which marks the debut of Mexican film maker Guillermo del Toro, is a dull hybrid - a ponderous art film crossed with a vampire story. [06 May 1994]

It's a romantic comedy with insights into sex and relationships that are old and obvious.

The whole thing runs about an hour too long: It should have been a TV show. The adventure's too big for the kids who would love it the most.

It's as if a trumped-up biopic of Andy Warhol were to appear titled "Soup.''

A dreary, distasteful exercise, "Off the Leash'' favors dogs over humans, framing canine high jinks with an ugly story of domestic abuse.

Jack is a warm, heartfelt disaster that shows that life is fleeting but movies can be very long indeed.

Sometimes the story just lies there like an old cat in the sun.

Hesher is about as awful as independent films get, a mix of ugliness and unearned sentiment, with a flat story, repellent and pathetic characters and dialogue that consists of lots of stammering and cursing.

110 minutes of Euro silliness mitigated only by the presence of Huppert and the striking ability of the actors to keep a straight face throughout this mess.

Way too serious for its own good. The best vampire movies are some combination of sexy, scary or campy. This one is 100 percent earnest, and the hazy mysteries taken from Rachel Klein's book aren't strong enough to keep the audience engaged.

The picture, for all its slickness and style, is empty, empty-headed and emotionally false… [It] has no more depth than "Pretty Woman" and occupies the same moral landscape. [5 Apr 1991, Daily Datebook, p.E11]

Works overtime for just a handful of chuckles and a few big yuks.

Ugly, gore-strewn and, ultimately, ridiculous.

A repellent, stupid film.

The Flash gets credit for effort, because this superhero movie isn’t trying to be stupid and convoluted. It gets there by accident.

It's a gorefest, a borefest and a snorefest.

A lamebrained guts-and-glory fiction. [20 July 1990, p.E1]

A good bio of any historical character has to have a compelling story, whether evil or good. Klimt appears to have had that story. I sure would have liked to know what it was.

The makers were clearly paying attention to the smaller details. But somehow, they missed all the big things that made the first Point Break a memorable escapist film of its time.

Misfires so severely that even the clever details get obliterated in the resulting mess.

Has that title going for it, which might annoy or provoke you. It makes me suspicious. It's the kind of flashy, meaningless title that's usually given to drab, pointless films.

In this case, the Big Apple has never looked so small and inconsequential.

The formula is tired, and it’s particularly sad to see Shazam! surrender so completely and pathetically to it, when it might have been DC Comics most human superhero franchise.

There's a lot of bad hair and incoherent, drug-addled remarks, but inside a minute we get the joke, and it isn't much.

Unfortunately, Sucka falls apart after the first half-hour. The action sequences are confusing and senseless. The setups for the action scenes are long and pointless. You know where the movie is heading, and there are no surprises along the way. It's one joke, over and over. [17 Feb 1989, p.E7]

Another dreadful, not-funny Owen Wilson movie, in which Wilson is the best thing.