Though predictable, isn't half bad.

Valentine isn't scary, but it is unsettling; not ultimately satisfying, but arresting in the moment.

A film to be enjoyed only by science-fiction movie completists and middle school boys with extreme cases of attention deficit disorder.

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.

The most thoroughly joyless and inept film of the year, and one of the worst of the decade. We're talking about a disaster, and not of the fun "Showgirls" variety, either.

Even camp status eludes this tepid and misguided picture.

Lange seems at a loss to know how to convey Martha's malevolence -- and writer-director Jonathan Darby offers almost no guidance.

The picture itself seems stoned. Line readings and whole scenes are abandoned midstream, as if Pooh lacked the attention span to see his ideas through.

It's even less funny than it sounds. By the end, this soporific comedy makes 105 minutes feel more like a two-year hitch.

Perry isn't the only thing wrong with Serving Sara, but he's the thing that takes a pleasantly mediocre movie and turns it into an unpleasantly mediocre one.

So while The Fanatic isn’t doing anything particularly new, it knows exactly the movie it wants to be. There’s a trashy, pulp energy powering us through the efficient 88-minute run time — long enough to invest us in the stakes, short enough not to wear out its welcome.

A very stupid movie, with many more failed jokes than successful ones. Worse yet, much of the comedy is kind of mean.

Exactly what the title implies: mindless.

An unfunny fish-out-of-water comedy.

Only a couple of good gags in its pileup of otherwise lame jokes keep the production from being an unqualified stinker.

The Nutcracker in 3D will be barely recognizable to fans of the beloved holiday classic. Imagine watching Tchaikovsky's ballet after taking a handful of peyote - on a day when all of the dancers call in sick and the orchestra decides to play a different set of the composer's works.

That Vampires Suck is a step above god-awful is something of a miracle.

Never comes alive.

The overall aura is kind of ... welcoming. It’s impossible to take seriously, but easy to take.

If you're like me and think that any Pacino movie is sort of worth seeing, so long as he never says, "Hoo-ha," then 88 Minutes won't be a total disappointment.

If you like gore, this is the movie for you.

Just awful… There is probably not one interrupted 60-second stretch in which a line of dialogue doesn't clunk, an action doesn't ring false or an irritating plot turn doesn't present itself. [25 May 1991]

Part of the appeal is that it's so bad it's good: The story is ridiculous. At other times, it's just plain good: There are ski and snowboarding scenes, plenty of them, that are beautifully filmed and exhilarating to behold.

A schlocky thriller that might appeal to less discriminating members of the mall crowd.

After a promising opening, with Jason on a rampage and a cold, peculiar bounty hunter (Steven Williams) on Jason's trail, Jason Goes to Hell switches focus midway to the young couple, and from there things go downhill. Still, the film has its moments. [14 Aug 1993, p.F1]

There's no footing in reality. Nothing about it feels authentic: not the blathering Mary, not the lifeless secondary characters, not the bromide-happy dialogue or the plot that twists less often than it spasms.

A mindless comedy where the blatant racial stereotypes are outnumbered only by the flatulence jokes. The best thing that can be said about this movie is it falls just short of being an international incident.

Is it a comedy if the audience laughs or is it a comedy if laughs were intended, irrespective of whether they're generated? Excuse Me for Living qualifies under the second definition.