Inane, irresponsible, immature, poorly written.

Reddin's script lacks the sophistication that might make the film's message about guns more than a 90-minute public service announcement with a good cast.

Murphy still knows how to please a crowd.

There were only two other people in the theater where I saw it, and they left within the first 10 minutes. I should have followed them out.

It risks the believability factor for anyone who's ever been cheated on or lost a loved one.

Willis and Pfeiffer do manage to keep you awake, but you're essentially watching your own marriage up there. And you don't need to pay a sitter to do that.

A perfect date movie for boys and girls, boys and boys, and boys just pretending to like boys.

Although Steal This Movie isn't worth the price of admission, it is worth sneaking in to see D'Onofrio and Garofalo's splendid performances.

Rocky & Bullwinkle is the new millennium's "Howard the Duck."

All it really propagates is overly dramatic scenes plagiarized from last month's high school date rape seminar.

Inert, unfunny, and not even interesting as a dirty movie, 8 1/2 Women could well rank as one of the worst films of the year.

Every so often, a movie comes along that is so bad, so unfunny, so incredibly awful that it redefines how you think about film. Stardom is just such a movie.

One of the worst movies released this year.

Does boast, as a major plot point, a dog's bowel movement. And things do go 'boom!' quite spectacularly and frequently enough to distract from the truth that there is virtually nothing going on in this whole movie that Nintendo hasn't done better.

Loser sucks.

Why do I keep having to see such awful movies?

Even more frightening are the miserable performances elicited from A-list talent, particularly Tim Robbins and Gary Sinise, both Oscar-nominated actors who perform with all the heartfelt conviction of Hawaiian-shirt-clad teenagers in a high school rendition of "South Pacific."

A devilishly fun blow-em-up that pits The Terminator vs. The Fallen One.

As brain candy goes, Isn't She Great is just that and a little bit more.

Wear your boots to this one, but because of the crap, not the snow.

A dud.

"Speed" with a thermometer, only a whole lot worse.

Ryan gives her standard, likeable performance.

A frenetic, aggressively unfunny one-joke merging of "Beverly Hills Cop" and "Tootsie."

A fabulous movie if you are a woman over 40 who likes to use the word "empowered" a lot.

Despite some redeemable comic dialog between Banderas and Harrelson, most of the movie is TKO.

A disposable flick.

A wildly silly goose chase.

A James Bond crib, minus the exotic locales, hot chicks, and finesse.

The kind of surprising giggles that make you wonder why you're laughing--- that's worth a few bucks.

Mind-achingly mediocre in every regard.

In the real audience with which I watched it, the only laughs were from kids under eight or nine, mostly at hilarious "hooter" jokes.

Worthwhile performances (including cameos from Joan Cusack and Sally Field) and one-liners, but don't leave your home looking for Heart.

Ranks with the best of the bunch, given its spooky storyline that fuses religion with down-to-earth characters.

Lucky for you, it won't cost a thing to get up and walk out at any point after the credits.

A bumpy synthesis of special and visual effects done far too over the top ultimately means Viva Rock Vegas is nothing more than eye candy, and not a very tasty piece at that.

Miss Piper single-handedly destroys what could have been a competent little movie about chicks being naughty and getting ahead.

A miserable failure.

This skull is brainless.

Kay doesn't seem to know the meaning of moderation.

This testosterone-fest even features a battle inside a strip bar replete with topless women. Talk about your guilty pleasures.

The film becomes so much urgent nonsense, its killing spree neither cheaply thrilling nor even more cheaply cathartic. It's only gory.

Everything in it is old bat.

The B-movie is back, folks, but who knows how long the fun will last.

Generally engaging.

What distinguishes The Watcher from all the films it consciously or unconsciously emulates is the intermittently witty, offbeat writing of debuting screenwriter David Elliot.

Endgame has become a nincompoop's travelogue, drenched in stage blood, fake beards, and crappy special effects.

If you give it half a chance, it will entertain you.

Confusing to anyone who's familiar with the word "plot."

Pop junk, an airport paperback, literally, turned into a mid-budget devil thriller.

Words cannot do justice for this homage to Ed Wood.

There are lots of elements that make no sense whatever.

A teen screamer with enough implants for the boys and enough bitchiness for the girls.

Ah, young love. It can be quaint and heartwarming, but is largely inconsistent and painful -- kind of like this movie.

Its film school aesthetics and sophomoric storytelling are sense-deadening.