The only memorable moments in the entire film come courtesy of three supporting characters, dopey skateboarders (Evan Peters, Shane Hunter, Hunter Parrish) who blindly follow Julie around.

The dullest movie ever made about child abuse, conspiracy and murder.

With its porno plot, Undressed production values and ersatz "Will & Grace" banter that manages to be crude without being the least bit funny, Q. Allan Brocka's debut is a tasteless comedy that nevertheless leaves a nasty flavor on the tongue.

The heart of the problem may be that real life youth-sports insanity has far exceeded the bounds of family-friendly comedy.

Along the way, director Brian Robbins indulges Reeves in too many laughable inspirational speeches. He also wastes the terrific Diane Lane in the thankless role of the kids' dedicated teacher.

Anemic chronicle of money grubbing New Yorkers and their serial loveless hook ups.

This picture is just shapeless and shrill. It's disposable, forgettable and aimed at an audience that doesn't care.

The film's subtexts are profoundly reactionary. Women are foolish and untrustworthy.

Lynch's fatal flaw is in her handling of the leads. Sands is made to play his single-minded romantic as a spineless, groveling wimp, while Helena is a one-note ice queen for more than half the movie, never reacting realistically to her predicament. The characters are so lacking in dimension and unsympathetic that it's hard to care about them or their story.

There are worse movies, but that's no excuse. Rarely has so much money delivered so little entertainment.

A convoluted exercise in shifting perspectives and fractured storytelling.

The few good lines go to Kristofferson and the ever-amusing Kier, but Snipes's considerable energy is buried under an affectless, Terminator-style demeanor.

A turkey with all the trimmings.

The dramatic scenes are frequently unintentionally funny, and the action sequences -- clearly the main event -- are surprisingly uninvolving, especially given that director Christian Duguay is an extreme skiing buff who habitually shoots dangerous stunts himself.

Self-indulgent wallow in privileged malaise.

Since BLACK SHEEP was directed by talented Penelope Spheeris (WAYNE'S WORLD), we had some hope that we'd find it marginally less distasteful than TOMMY BOY. We were disappointed.

This is a terrible movie in its own right, tasteless and condescending -- if Sandler's character is an Everyman, than the Everyman of today is a boorish jackass

Boyar's best efforts -- which are quite good -- can't begin to compensate for Guttenberg's grotesque excesses or make the weirdly warm relationship that develops between them convincing, let alone appealing.

There's a germ of an interesting idea here, but it's smothered by gloomy cinematography a la "Seven" (1995) and grating implausibilities, like the fact that everyone lives in the kind of cavernous, dankly art-directed dumps that only internet millionaires and trust fund twinkies can afford in the real New York.

Numbingly predictable.

This mean-spirited invisible man movie tries to hide its poverty of fresh ideas behind a load of state-of-the-art special effects.

A fairly tame, fairly lame blaxploitation footnote, starring drop-dead gorgeous Tamara Dobson and her improbable wardrobe.

Boring, contrived, and manipulative.

Director and enfant terrible-wannabe Gregg Araki winds up his Teen Apocalypse trilogy with this loud, ridiculous mess, and not a moment too soon.

The cloying odor of therapy hangs over this preachy holiday fable about a boy whose neglectful dad dies and comes back as a snowman.

As the Fat Boys demonstrated in DISORDERLIES, the social stridency of rap music does not mix well with crude, antediluvian slapstick. And now Kid 'N' Play, the popular rap duo that scored high-energy hilarity in HOUSE PARTY, offer further proof with the intensely juvenile CLASS ACT.

Hippolyte subsequently reinvented himself first as a director of baroque erotic thrillers and then as music-video maestro to pop tarts like Britney Spears, but stalk-and-slash horror -- for all its porn-movie rhythms -- appears to have defeated him.

The movie looks as though it was shot on a budget somewhat smaller than the local six o'clock newscast.