The special effects, supervised by director John Buechler, who was the effects man on GHOULIES, are pretty poor, essentially slimy rubber creatures with a limited amount of movement and the seams from their molds clearly visible.

This sequel to David Cronenberg's masterful 1986 remake is uninspired, uninvolving, and wholly unnecessary.

Kristofferson acts like someone who has just awakened and would like to go back to sleep--something many in the audience found themselves doing.

The sadists responsible for the painfully unfunny "Date Movie" (2006) are back, and this time they've outdone themselves: This theater-clearer is even less amusing than its terrible predecessor, a spoof so devoid of laughs it can longer be categorized as a comedy.

Cool World's numerous plot holes and illogicalities might be forgiven if it had interesting characters or impressive visual effects.

The film attempts to pay tribute to vintage rock music--most of the songs are covers of golden oldies. But the renditions are so uninspired, the tribute falls flat.

The film's Montana vistas are breathtakingly beautiful, and the crisis-in-the-hot-zone sequences are as spooky as those in Outbreak, but Seagal's monologues about the environment, biological warfare, Native American spirituality and natural medicine are excruciating.

In KILLER KLOWNS FROM OUTER SPACE a potentially interesting genre-warping concept is turned into a merely dull and repetitive one by the Chiodo brothers, who created CRITTERS.

Although it aspires to subversive social satire, FUNNY FARM seems little more than a dumb comedy more determined to make people guffaw than to think.

James plays it safe. And, short of unfunny, safe is the worst thing a comedian can be.

Competently made but highly contrived so as to evoke as many "aw's" as possible in an hour and a half, this movie is only for the extremely naive.

Inoffensive of this kind (except for the usual array of stock Mexicans), but wholly unoriginal.

There are a couple of mildly amusing moments, but overall Howard the Duck is a monumental waste of time.

It would have been better off if the casting were more believable, the acting more honest, the emphasis off the obvious sexuality, and the script destroyed before production began.

The movie is flat, often pushy, and has none of the bubbling joy of the SCTV sketches that Candy and Levy illuminated with their presence. Set pieces are tossed in every few minutes in a vain reach for laughter; but under director Lester's sloppy hand, there is very little to laugh at.

All the tongue-in-cheek humor, film-buff jokes, and special effects in the world can't save this mess.

This direct rip-off of The Hills Have Eyes has nothing going for it.

The script's vague, silly "explanation" for Linda's experiences -- nature abhors a spiritual vacuum, so weird stuff happens to the faithless -- is the icing on the irritation cake.

Despite several bad or indifferent performances, though, the film does succeed in its primary goal, to provide 90 minutes of fast-moving and fairly exciting action.

An action thriller from the Joel Silver school of Big Bang filmmaking, Passenger 57 smashes on the runway, an inflated cartoon of excess without a modicum of charm, wit or sense.

Another broad-brush, unfunny feature from one-time stunt director Needham.

The film is preposterous on so many counts that it's hard to enumerate them.

Only the performance of Elam remains lively, but it is the type of characterization he has done dozens of times. A sad finale to Hawks's magnificent career.

Despite its lack of imagination, this dull martial arts entry spawned two sequels: Revenge of the Ninja and Ninja III--The Domination.

It's difficult to figure just what is going on here, and most certainly not worth the effort.

The first film featured George Wendt from TV's "Cheers"; this time around, they tapped the same TV show for John Ratzenberger.

The acting is laughable, the story as believable as honesty in government.

Boring, cliche-ridden teen drama looks nice and features Quinn, who is fairly impressive in his debut. Hannah looks good but seems completely without depth, as do all the other characters in this routine bad-boy-loves-good-girl drama.