Pixels is a movie without wit, without jokes, with nothing to say but plenty to regurgitate.

But for a lightweight summer romantic comedy, The Perfect Man delivers the goods and includes a couple of scenes that are, surprisingly, fresh and quite funny, both of which, incidentally, involve the music of Styx.

Familiar in its outline but unusual in the details, Last Knights feels like a year’s worth of post-midnight cable TV viewing run through a blender and served warm for your viewing amusement.

Delgo is blocky and hastily coloured in. Characters are stiff; there is little variety in movement. It's a cheapo product ideally suited for a Saturday-morning pyjama vigil in front of a small screen. And the film suffers from a poverty of imagination to boot.

True appreciation must be paid to Melissa McCarthy, who does a so-very-loud version of her usual shtick – foul-mouthed wrecking-ball – to keep audiences awake when director Brian Henson (yes, son of Muppet creator Jim) resorts to having his puppets drop F-bombs instead of delivering actual jokes.

Neither boring enough to qualify as pornography nor vital enough to generate a controversy.

The movie features Eddie Murphy as a vampire who is both cool and sucks. The same evaluation might apply to the entire film, which is neither as good as it might be nor as bad as you might expect. The long- in-the-tooth Dracula story, which has been updated and set in the black community of contemporary Brooklyn, is a pulpy mishmash of horror and comedy, equal parts the product of its comedian star and its creepshow director, Wes Craven. [1 Nov 1995, p.C2]

Uh oh, pull over, I think I'm gonna be carsick.

But the best, most irrefutable reason why Sex and the City 2 deserves one-half a shining star. It’s worse than Sex and the City 1, and that alone is a remarkable achievement.

If you are expecting a pleasant evening of escapism, you will be cruelly fooled. The editor responsible for the trailer is clearly a genius.

Marks the emergence of a talented young actress. Not Britney -- who has the amateur's tendency to stand looking awkward after delivering her lines -- but Manning (Crazy/Beautiful), who plays Mimi with the gusto of a young Holly Hunter. Though she has little competition here, when she's on the screen she pretty much owns it.

You might believe that a movie comedy requires no visual rhythm, and that entire scenes -- especially those big set-pieces -- benefit greatly from a shooting style devoid of imagination and unremittingly flat. If so, A Guy Thing is surely your thing. Enjoy.

[Pitof's] managed to create an entire digitalized city that has all the allure of an underground parking garage. And his action, it's cluttered; his editing, it's confused. The result: blandness butchered, hamburger chopped, kitty littered.

Much as I have enjoyed the actor’s embrace of scuzzy revenge-thrillers, he may have hit the point of diminishing returns. Put it this way: Blacklight is a movie that Bruce Willis would deem below his standards.

A 0-star Comedy that is nonetheless guaranteed to rake in multimillions.

It is not so much lazy filmmaking as it is a very expensive middle finger to common sense and the basic concept of entertainment.

Chan's comedic gifts and still-nimble moves are wasted in a string of unimaginative household calamities and practical jokes.

For all its current political incorrectness, the original film at least attacked hypocrisy; this one practises it.

Though the script takes pains to paint George as a passive boy-man, there's just not enough lovable here and too much of the thoughtless lout. Butler beware: In acting as in soccer, if you keep taking dives, sooner or later you pay the penalty.

Any chance the film might have had is trashed at the outset by Chase's disengaged style of non- acting and blas approach to pants-dropping. [28 Dec 1981]

Most of The Fog will seem drearily perfunctory even to those viewers who don't know Carpenter's version, which itself emulated the elegant gloom of Val Lewton's horror pics of the 1940s.

It makes "Little Man," "Scary Movie 3" and "Beerfest" look like comic masterpieces.

Very little of it works.

Nothing in Shadow Force surprises, delights or even attempts to raise your pulse above a twitch.

The product of a first-time director and writers who have no sense of scene structure or shape, or even a discernible sense of humour.

A rip-off and a rerun.

Awkwardly constructed with laughable romantic suggestions, sword-based gore and a whimsical approach to chronological accuracy, the story involves the Indian uprising against the British East India Company.

Norbit is pretty much a bad-taste sinkhole.