A half-baked disappointment...never flies, never comes close to meeting its own expectations.

The movie's most inexcusable failing is that, despite all the flashbacks, we never get a sense of what this relationship was like when it worked.

Neither original nor presented in a convincing way.

This picture is disgusting. [15 Aug 1986]

Loach and screenwriter Paul Laverty draw everything in simplistic, overstated terms. The good guys are pure and spunky, the bad guys bellicose and one-dimensional, the conflicts stripped of nuance.

Rarely do two lines go by without Fellowes changing something, always for the worse.

If Max and his "Hell" collaborators feel stymied by the summer hit "The Hangover," they'd be justified to scream to the bromance gods that someone stole their film's concept. But those guys did it the right way, bro.

It will bring joy in a way certainly not intended, as one of the most gloriously and unwittingly silly films ever devised by a major American filmmaker.

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

A horror “comedy” about a deranged 12-year-old boy with a script that feels like it was written by a deranged 12-year-old boy.

Nothing but a showcase for the inherent comedic gifts of Cameron Diaz. The problem is she doesn't have any.

Might be a blast of ridiculous fun -- the way truly bad movies tend to be -- if it weren't so noxious and reprehensible.

What we have in this film is a whole lot of nothing, and the little that's there is irritating.

As a Jerry Bruckheimer production and a game adaptation, Prince of Persia has every business being jumpy and sequential, and as a frivolous summer popcorn flick it has every business being inane.

Another inert, soul-dead action drama that turns actors into zombies...It's garbage.

Lucas Black, who looks as much like a high school kid as George Bernard Shaw, speaks in a thick Southern accent that hasn't been heard on any leading man since the second act of "Our American Cousin."

There is not one line of dialogue or one sight gag in About My Father that can’t be found in other bad comedies, and Maniscalco . . . and director Laura Terruso seem to believe the path to humor is to go as far over the top as possible.

A revenge-fantasy Western that wants to luxuriate in its B-movie roots but suffers from dull direction and an even duller central performance.

What can you say about a comic sci-fi adventure that’s neither funny nor thrilling, but is packed with awesomely rendered visuals of dumb-looking things?

Loser is just as it sounds.

The moments of action are interspersed with lengthy plot developments that are hard to follow.

Ultimately, the people who made “Lightyear” bet too much on the appeal of Buzz, when they really needed to be deepening him and transforming him. Buzz is no Woody, and to sustain an entire movie, he pretty much had to be.

It can be charmingly elliptical at first (and even again toward end, when things get momentarily, gleefully weird), but the film gradually loses its power as Parthenope’s life becomes a kind of pointless merry-go-round showcasing new permutations of her seductive beauty.

Seriously lacks both romance and comedy.

Wow, when Disney misses the "reimagining" mark, it really misses.

Saint John of Las Vegas was a bad script that somehow got made into a bad movie with good people in it.

Behind Enemy Lines has a wretched script and a director (first-timer John Moore) who either has no taste or doesn't know what he's doing.

Fly to the Moon is absolutely awful. The only interesting thing about it is how long it takes for a viewer to figure out how bad it really is.