The screenplay is thin, the dialogue lacks nuance and the acting is often laughable.

The young Pigeon turks who no doubt think they've made a hip black comedy should be forced to see it in a theater of non-sycophants, where only an occasional exasperated exhale signifies the audience isn't dead yet. [25 Sept 1998]

Here's a by-the-playbook movie if ever there was one.

Can't stars attract better scripts than this?

Life Itself is a real downer when it comes to death: A few are so out-of-nowhere that it’s like the hipster version of the “Game of Thrones” Red Wedding.

It's déjà vu all over again. There isn't much more to say about "We Own the Night 2." Oops, make that Pride and Glory.

This second installment, based on Veronica Roth's series of YA novels, feels cobbled together and less focused than 2014's Divergent, and lacks tension and excitement.

The joyous gallows humor and horror-movie commentary of old are gone and some inspired working-in of new technology falls apart.

Kevin Smith shows up briefly as a lab technician in the miserable Daredevil, and that's a pity. This is a movie that desperately needs the presence of Smith's trademark sidekicks Jay and Silent Bob, with Smith as Bob, ragging worse than ever on his old pal Ben Affleck.

Close your eyes during this miserable romantic comedy.

After a half-hour or so, your clicker finger will be itching. Too bad you can't zap around the other multiplex screens. [17 Aug 1992, p.4D]

In a summer filled with dumb comedies, this might prove to be the dumbest. Think "Road Trip" meets "City Slickers." Then dial the humor down a few notches, and you're left Without a Paddle.

Sitting through this movie is worse than being locked in a room with a continuous loop of "Nip/Tuck" playing on a jumbo screen.

While this third installment offers a jot more humor (mostly unintentional), the action scenes are disjointed, badly staged and mind-numbing.

Clumsy, miscast thriller.

It's all mind-numbingly dull, and critics have exhausted every electrical pun known to man in saying that "Current War" "lacks spark."

Flyboys doesn't succeed as a wartime adventure story or as a period romance. Even the special effects, set in a historical context, are too ho-hum to save this over-long and tedious film.

Underdrawn and overheated, Cool World will leave you cold. [13 Jul 1992]

A mostly dreadful reboot by director Camille Delamarre (Brick Mansions) that casts English youngster Ed Skrein in Statham's role as well-dressed driver-for-hire Frank Martin.

Becomes exceedingly disgusting when it wallows in the psychological torture of a child, a no-no under any circumstances.

Sitting through the teen skateboard comedy Grind is, well, a grind.

Feels like an especially grisly Twilight Zone stretched to five times its length, features Das Boot's Jurgen Prochnow as missing author Sutter Cane and such screen-schlock reliables as David Warner, John Glover and Bernie Casey. None remotely remedies Mouth's bad breath. [03 Feb 1995, p.4D]

Coy to a fault, the movie collapses under its own weight with 90 minutes to go, despite Robby Muller's impressive black-and-white photography, which puts the film on a higher artistic plane than other equally unbearable movies. [16 May 1996, Pg.06.D]

Labor Day feels like a belabored, sappy slog.

This is a noisy, sadistic and just plain dull rendering of a too-often-told tale about a mysterious drifter who rides into a lawless outpost and pits rival gangs against each other. The plot, based on Akira Kurosawa's samurai classic Yojimbo, isn't so much dusted off by writer/director Walter Hill (Wild Bill) as propped up. [20 Sep 1996]

When it comes to being brainless, The Skulls is at the head of the class.

If you can't find a more scintillating brand of dirty to enjoy during your own nights (Helena or Hoboken), you're not trying very hard.

What is most troubling is how this film can serve to shape perceptions for impressionable kids. Young girls and boys will think that non-stop make-out sessions is all it takes to sustain "endless love."