Everything honest and hard-hitting in the book has been tastefully subverted, and the performances are scaled to meet the script's tiny demands.

Whoopi Goldberg here made her first stab at drama since her film debut in The Color Purple, and it's simply appalling. She's mawkishly maternal, and her patois is about as convincing as Lionel Richie's.

Director Uwe Boll sticks with what he knows -- how to turn video games into dull, cheap-looking movies.

An enormous number of symbols--sexual, religious, and political--collide randomly in this pretentious, incoherent horror story.

It lacks the courage of its swinish convictions, and abruptly acquiesces to bland rom-com clichés three-quarters of the way to its appointed end.

Awful disaster movie that combined the worst elements of soap opera with special effects (bad matte paintings and the ridiculous Sensurround)--featuring an all-star cast that should have stayed home and waited for a real earthquake.

If you've seen one of these, you've seen them all.

Hope isn't funny, Winters misses the mark completely, and watching Diller is like scratching your fingernails down a blackboard. To be avoided.

Performances are weak all around, and Gordon hits his nadir in his cinematic vision of irregularly sized creatures.

It's not that you can't go home again. It's that you SHOULDN'T, at least not in a lowbrow Hollywood comedy, because your family will inevitably be lewd, crude, loud and obnoxious.

This sequel remains true to the tasteless formula of the original.

One of the most dismal excuses for family entertainment ever perpetrated by a major studio, this crude, lazy variation on Disney's "Sky High" (2005) revolves around the education of four "special" youngsters at the hands of a washed-up superhero.

A mindless comedy that's about as funny as a life sentence in solitary confinement.

A classic among lovers of truly bad movies.

As poorly animated features go, this one ranks down there with the worst of them. The characters have no real personalities, and the whole thing is just too somber for its own good.

Although the concept of small dolls coming to bloodthirsty life sounds scary, its fear factor decreases rapidly after the initial shock.

Will put the kids to sleep, but may kill you.

In the tradition of misbegotten sequels that stagger into theaters long after the original movie's release, this follow-up to 1980's BLUES BROTHERS may find a sympathetic berth with ardent fans. But newbies are warned to stay away, unless they feel compelled to experience endless scenes of pointless buffoonery and crashing cars.

No one was exactly clamoring for this one, and Bronson has vowed it will be the last Death Wish.

The lighting and makeup are exceptionally harsh; all the women look shockingly rough beneath their garish makeup.

Just another excuse for mindless sex and violence: as if we needed one.

Because the screenplay is more concerned with its formula plot than with character development, neither McCarthy nor Dillon offer any real insights into this theme.

Dry, dull, and terribly predictable.

This Ashby-directed film suffers most from its too-simple plot, but the often-indecipherable Texas accents that Blake and Harris lay on don't help matters much.

Nelson wanders through this film like a zombie, and Sheedy, an actress who can manage an occasional burst of talent, is simply bad here. The film's only saving grace is the musical score by Cooder.

Incredibly inept and silly adaptation of Edgar Rice Burroughs' adventure yarn.

Campy hogwash.

The laughs are low, the breasts are high, and the film is instantly forgettable.