So witless, sit-com shallow and bad in every way that it's just not worthy of much discussion.

Undiscovered promotes one of the stupidest visions of the entertainment industry since "American Idol" opened the celebrity gateway to the dregs of the karaoke generation.

Overly familiar, poorly cast and often annoyingly crude New York comedy that never finds its groove.

There is a point, however, at which the movie becomes simply sickening. Between the electric shocks and hot-iron branding, feats of grossness are accomplished that are so vile even the hardiest among the cast cannot suppress the upchuck.

A gruelingly dull slog through basic horror-movie conventions, should be dumped in the Seine.

Not just a bad film, Hannibal Rising is downright dull, which is a far worse crime.

It's a botched job...the new "Phoenix" lacks the very things that made the old one special.

The humorless and self-important execution attempts an operatic scale but only succeeds in sinking the remnants of the story's integrity. By the time it makes landfall, this incoherent production has blown itself out.

What results is a movie as vacuous as the characters on screen. It's not often a movie makes you yearn for the energy and half-baked artistry of "Freddy vs. Jason," but there you have it.

Efforts to expand the envelope of grotesquery make the film repulsive and suspenseless, and it sorely misses original director Tobe Hooper's grisly, wily sense of humor.

The movie is a resounding dud: immaculately composed and shot (very much in the Kaufman tradition), but riddled with crime-movie cliches, wincingly obvious in its plot twists and rather badly acted.

There is no histrionic excess or crackpot camp, only hoary sentiment, the puppy-dog cuteness of the mentally handicapped, and the proposition that the "cure" for lesbianism is one good man brave enough to get in touch with his inner cow.

So uninvolving as basic storytelling that it quickly becomes boring.

Tries mightily to have the charm of "Bull Durham," but instead fields raunchy sex jokes, predictable story line, dumb dialogue and a lackluster love affair.

It has absolutely nothing to say -- no redeeming commentary about nihilistic, narcissistic society and its appetite for instant gratification -- which would have made it sociologically interesting, or at least sort of Faustian in theme. Instead Sex and Death 101 is as empty-headed as its protagonist.

It is not just that this action-comedy is a totally stupid, by-the-numbers collection of every action movie cliche ever coined. It is that the thing is so upsettingly mean-spirited and incorrigibly ugly, a movie that absolutely revels in sadism and constantly asks us to laugh at the most sordid and explicit acts of violence. [17 Mar 1990]

Rarely has paper-casting worked as dismally as it does for Jason Lee and Tom Green.

The kangaroo is devoid of charm, as are the actors, who have the chemistry of fingernails on a blackboard.

Director Fran Rubel Kuzui ("Tokyo Pop") cannot begin to find the style that would give some unity and originality to this mess. The result is a grindingly dull horror comedy and an unnecessary satire of Valley Girls - a full decade after that phenomenon has come and gone. [31 Jul 1992, p.12]

The script drowns out its ideas with arch melodramatic devices and ridiculous twists while Babbitt smothers even the daylight scenes in an oppressive gloom.

Redfield's fans will rejoice, if only to see the beloved novel illustrated on the screen, no matter how tediously. The rest of us probably should stay away.

It's a sorry specimen if ever there was one, and could even stand as an argument for how the movies have deteriorated in recent years.

A girlie romantic comedy with tired slapstick pranks but not an ounce of self-respect or intelligence.

Ever wondered what the bastard stepchild of "Rear Window" and "Harry and the Hendersons" would look like? Probably not. Nevertheless, here it is in the form of a Bigfoot horror flick gone horribly awry.

Had Araki chosen to illuminate, rather than exploit, the traumatic aftermath of child molestation, his wallow in the horrors of Mysterious Skin might have had a purpose. As it stands, his film is just another trashy look at America as the land of imbecilic perverts.

It's a tired rehash of animation cliches that distinguishes itself only by the extent to which it's crammed full of scatology and gleeful violence to animals, and otherwise panders to the worst instincts of its audience.

The biggest failing of the film is that it's the lamest possible excuse for a whodunit. [17 Apr 1998]

A movie in which almost nothing works.