If it seems like a stupid idea, well, it is. This is one of those romantic comedies that rely on wild coincidences and misunderstandings that could be cleared up with a simple cell phone call, but then, that wouldn't help the "plot" along.

Not a campy film, but it revels in extremes, and has the same sort of appeal.

Heavy on the eye candy, light on plot and logic.

A few amusing moments mixed in with the painful ones.

The strange thing is that for all of Fonda's whining, Pullman's wary squinting and muttering, the bad dialogue, the cheesy effects, the severed toes, the severed heads, the severed bodies and the cliched directorial choices, Lake Placid adds up to a halfway enjoyable time at the movies.

Jean-Claude Van Damme is the best part of every movie he's in. Then again, when you consider the pictures he's been in, maybe that's not saying enough. [15 Sep 1990, p.C3]

What garbage. Seriously. What absolute, bereft, witless, unoriginal, unrewarding, soulless garbage that’s 40 years past scaring anybody. The only power this formula retains is the power to make you feel a little sad — at the ugliness, at the cynicism, and at the pathetic waste of your own mind as you watch it.

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

Every key plot turn is telegraphed at least twice, just in case you missed it the first time. Every emotional moment in the movie is foreshadowed a few beats in advance by the manipulative musical score.

Leaves an unintentional unpleasant aftertaste.

With most movies that fail, the fault can be ascribed to carelessness or lack or inspiration or cynicism. But Chelsea Walls, directed by actor Ethan Hawke, is clearly a labor of love.

Just not worth revisiting, unless one wants to tie one's brain into a knot for no discernible reward.

Excess Baggage falls down as a showcase for Silverstone, who made a big splash in "Clueless" and whose production company is releasing this film. She comes across as unappealing and unseasoned in ways that go beyond the role.

There's no attempt at humor in Dead Silence, but the biggest sin in the film is the lack of scares.

The result is an incredibly disorganized movie with a few funny scenes -- most of which are revealed in the commercials.

Almost every moment has flashes and explosions and a pulsing, relentless soundtrack. It's like being trapped inside a video game.

Completely ridiculous, but fun to look at.

Sometimes unapologetically stupid and joyously crass, it’s often brilliant in its absurdity, one of those rare comedies where the audience sits there dumbstruck, wondering what crazy thing will happen next. It takes really smart people to make a movie this silly.

There are lots of cameos, as well, too many to count. However, it is worth mentioning that singer Taylor Swift shows up in a couple of scenes, playing a vapid Valley girl, and she's very funny.

Numbingly dull and repetitive.

Darned if this film doesn't have some nice touches.

Chase is so dull in this film, he looks as if he's sleepwalking.

The strange case of a movie that clunks in every possible way but the ultimate way -- it entertains.

Writer-directors Jon Lucas and Scott Moore find a nice balance between the over-the-top high jinks and an emotional core, which unexpectedly crystallizes relatively late in the movie.

It's Valentine's Day! Unrealistic romantic expectations are in the air! And Safe Haven does the unrealistic romance thing pretty well.

The Ice Age screenwriters seem to be making up the rules as they go along, distracted by tired side plots to give the other characters a reason to exist in the film.

There's a case to be made for The Real Cancun as a document of the mating dance as well as an unintentionally poignant film about the brevity of youth.

A joyous, hilarious send-up of rock star pretensions and an enchanting celebration of "girl power" in pop culture.