There's nothing like dumbing down a movie grown-ups love so it can be "sold" to teens who aren't going to go anyway. The savvy flyer will proceed to the gate marked The "Aviator" instead.

I.Q. is a limp period comedy essentially distinguished by two of its haircuts, with Meg Ryan sporting a pert peroxided trim and Walter Matthau decked out in a free-form Albert Einstein coiffure. Fortunately, in the latter case, Matthau is actually playing Albert Einstein. [22 Dec 1994, p.3D]

The film clocks in at under two hours, but the last 20 minutes feel like 40.

Yet another take on the human-as-prey-for-hunters theme seen most recently in last summer's Hard Target. [18 Apr 1994, p.3D]

A year ago next week, Debra Messing's "The Wedding Date" arrived DOA. And now this. In terms of movies that matter, it looks as if the wedding-funeral motif will continue.

Looked at from the vantage point of more than three decades later, the movie is frequently incoherent; the dialogue sounds like it was being made up on the spot; and the acting is spotty in many cases. [01 May 2004, p.70]

Has such dull patches that as a Volvo races to the scene of a massive shootout, a distracting thought comes to mind: Can Volvos even go that fast?

Feels slight and repetitive, even when there is no actual rewinding going on.

David Mamet handled such small-town whimsy better in 2000's "State and Main." Hackman could play his role in his sleep, but Romano IS asleep. Result: Welcome to Mildport, and that's being kind.

This movie has a little something, and part of it is subtext. Walken, who wants to use drug money to build hospitals, is embraced as a New York celebrity; this rings true. Plus, King reunites director Abel Ferrara and screenwriter Nicholas St. John of Fear City/Ms. .45 cultdom. [1 Oct 1990, p.5D]

Jumps at chance to be silly.

There’s a Miracle Mop at the heart of Joy, though the movie is such a mess that even it would have a hard time cleaning up.

The new version has a few jolts, some occasionally effective smoke-and-mirrors photography and a lead (7th Heaven's Jessica Biel) who could teach a grad course on walking provocatively in blue jeans.

Not a movie to cozy up to. The twisted tale is only mildly intriguing, worth seeing mainly for the striking performance of Jamie Bell (Billy Elliot) as Hallam Foe, a creepy teenage voyeur beset with an Oedipal complex.

Angels doesn't know when to quit: Just when you think it's over, it continues.

Where it should be light and graceful, Leap Year trips and thuds.

There's definitely some paradiso in watching Malena walking, but not enough to sustain almost two hours of cinema.

The movie isn't without style, but the material can't remotely sustain 100 minutes.

It's easier to take Hi-Heel Sneakers by Tommy Tucker- more seriously. [20 Dec 1991]

It's tough to make it through Nights in Rodanthe without wincing at its sticky-sweet sentimentality.

There's really not much fun to be had with Dick and Jane - or anyone else in this anemic comedy.

Dialogue is terse and predictable, and the sci-fi thriller portion is even less compelling than the Western saga.

The plunk-ing of a rap/disco soundtrack onto a movie about debtors' prisons and 18th century British highwaymen?

The detective is aces aboard Murder on the Orient Express. It’s the crime — and the ensuing whodunit — that doesn’t play.

Like the last two "Pirates" movies, Australia is ambitious more than awe-inspiring, grandiose rather than grand, full of spectacle but not spectacular.

Though they have plenty of lethal weapons at their disposal, the Losers are nowhere near as fun as the '80s action-flick heroes they emulate.

Tim Robbins plays the working dad, and the movie misses him once he bails out early.

Truth be told, the movie isn't among the worst sequels of this summer.