This amateurish comedy features some amazing sequences shot in Moscow. But everything else about it is second rate.

Contrived, slapdash and utterly false, this action thriller with a cynically soft center exemplifies the worst end-product of contemporary Hollywood formulas.

The title duo serves up more idiocy, this time by dispensing drugs from an ice-cream truck--a concept that will appeal to few these days. The failure to come up with a strong script, character development, plot, authentic humor, or basic entertainment doesn't improve matters any.

Even the special effects are lame in this one, offering a latex shark that is about as realistic as a fake goldfish. Poorly directed by Joseph Sargent, who relies heavily on blood and fast editing to create tension since there certainly isn't any written into the script.

Director Damiano Damiani occasionally conveys a few genuine chills between bouts of unintentional laughter, but overall the film is a failure.

Unfortunately, the filmmakers here seem to lack any notion of how to create a well-crafted vehicle, and the whole thing comes off as an uncertain, shoddy attempt to wring box-office dollars from sniffling audiences.

Even Spade's most dedicated fans would probably be better off staying home and watching a "Just Shoot Me" rerun.

This is sorry stuff.

There's at least one ending too many, Union regularly vanishes for long stretches of the movie, and director Michael Bay's unmitigated pandering to viewers who whoop with glee whenever someone gets it between the eyes is genuinely distasteful.

It's hard to imagine who would find this funny.

Women are treated with little respect by director Wilder, while men are portrayed as bad little boys who mean no harm. The so-called farce is just degrading prattle that drags on much longer than it should.

Juvenile and pointless.

An excruciatingly unfunny comedy.

Director Richard Fleischer demonstrates a keen understanding of the potentials of the 3-D gimmick here, but there is little else to recommend this dull retread.

The film is so dark -- literally -- it's often hard to see what's going on.

The opening half-hour, as Pat and former music video director Bernstein conspire to keep the secret while depicting the banal existence of this truly irritating character, is reasonably entertaining. The remainder of the film has some amusing moments, but the story goes nowhere, and if the film ran longer than its 80 minutes, it would have become too tedious to tolerate.

Director Jamie Blanks "Urban Legend" appears to be carving himself a career making slasher movies for a new generation; unfortunately, he's in no way improving on the originals.

The film should have featured more absurd and nonsensical elements. Certainly the plot is ridiculous, and so completely illogical that to see it fall by the wayside in favor of some inspired lunacy would not have been a loss.

That rare, unfortunate thing, a total misfire of a movie.

While the master is at work, there are laughs galore, but the film nonetheless constitutes cheap exploitation of the memory of a man who convulsed audiences for years.

The cast isn't bad but the movie is, and Amir's use of Holocaust imagery is cheap and unnecessary; Jo and Alexander could just as easily have died on the Titanic. At one point the dialogue is completely drowned out by the roar of the surf, and that is no doubt a blessing.

The story's broad strokes are painfully clichéd and its details make no sense at all.

Cynical and contemptuous of its audience, this lazy sequel oozes an insufferable air of self-satisfaction.

Up The Academy is another in the seemingly endless parade of inane teenage comedies.

In search of inspiration and the human spirit triumphant, they managed to cook up a pot of sanctimonious, reductive claptrap (which the credits confess was only "inspired" by Quinn's book) that's not in the least instructive or entertaining.

Uniformly dull and predictable, save for the sight of Borgnine turning into a goat-headed demon--not much of a stretch, perhaps--and Travolta (in a small role) melting along with the rest of the cast.

An arty fright flick that's neither artistic nor the least bit scary.

This big budget mish-mash is almost unbelievably derivative and shockingly cheap looking.