Oddly comforting in its inconsistent acting and bad monster makeup.

Daddy’s Home 2 is an excessively negative, strained and predictable comedy.

We all know how actors overact when they play Italians, and we all know how actors overact when they play brain-damaged characters, so just imagine Knight's performance as a brain-damaged Italian American.

Dax Shepard from MTV's "Punk'd," in his first major big-screen role, steals Without a Paddle. Not that it's too hard to do.

A supernatural thriller that keeps your attention while failing to hold you in its grip.

A thriller that presses all the buttons: parental love, childhood terror, fear of Vince Vaughn.

Nearly a scene-for-scene rip-off of "National Lampoon's Summer Vacation" -- where the only substantive change from the original is a reversed travel route.

Surprises you with heart.

Bleak.

A respectable and fairly decent movie.

Through a stellar effort by Jennifer Garner and some well-executed revenge sequences, Peppermint just feels good to watch.

Zellweger takes an otherwise passable mainstream comedy and all but ruins it with her lack of effort.

Clunky adventure story.

Attempts to convey emotional dislocation and passion at the same time. All we get is distance.

Even if his (Stallone) own star may be fading, the popularity of car racing is enormous. These fans are not likely to be disappointed by Driven.

The movie plays more like a WB network teen drama than something audiences should be expected to pay to see.

The result is a diligent brand of gloom. When it isn't being diligently gloomy, it's being obvious. When it isn't being obvious, it's being sneaky, and when it isn't being sneaky, it's marching toward a climax of B-movie violence, stupidity and nuttiness that summarily bumps off the movie's least annoying character.

Desperately wants to deal dramatically with the legitimate issues of homosexuality, tolerance, homelessness and drug use. But to do so, the movie, like Ethan, would first need to grow up.

The cheesiness has increased, but it's surprising how clever low-budget film makers can be when they throw every nut and bolt within reach into a film, and stir wildly with computer-generated images. [15 Jan 1996, p.E6]

An enjoyable movie not because of any special gifts by the filmmakers or emotional resonance in the script. It was more like destiny. Once someone jotted down the concept on a cocktail napkin and hired B-Boys who could actually dance, the movie pretty much had to turn out OK.

Hurry Up Tomorrow, is a risk-taking experience, a David “Lynchian” fever dream of a movie that’s as visually marvelous as it is head-scratching. It’s a “Purple Rain” for the “Euphoria” generation, and you can’t take your eyes off it.

It’s just bad. It’s boring, folks.

Take a wretched premise. Imagine the worst picture that could be made from it. Then imagine something even worse. That's Alien vs. Predator.

Watching this film is a little like wallowing in warm surf with soft pop music wafting in the breeze.

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

The semiserious comedy by director Sven Pape is in its own category, and unfortunately it's not always an interesting one.

No more than a minute into this, and it becomes obvious that the next 98 are going to be trouble.

The desperation TV stars must feel to be on the big screen is the only explanation for Edie Falco and Elisha Cuthbert's appearance in The Quiet, a creepy family drama that reeks of pretentiousness.