Frequent Disney scripter Tom Schulman won an Oscar for Dead Poets Society. His latest, Medicine Man, ought to be in the Dead Movies Society. [07 Feb 1992, p.5D]

Far-fetched, flimsy and uninvolving.

The director is Rowdy Herrington , whose penchant for the silly in Patrick Swayze's Road House will serve as able cross-reference. Among the capable actors wasted are Dennehy, Robert Loggia, Ossie Davis and Cuba Gooding Jr. from Boyz N the Hood. Soft-spoken Heard is supposedly an ace traveling salesman, but won't be doing Music Man revivals soon. [6 March 1992, p.4D]

A misguided attempt at comedy that needs to go last on anyone's list of movie options.

Unless it becomes a camp classic, Cain will soon go the way of Abel. [07 Aug 1992, p.2D]

Vardalos' comedic style is old-fashioned in the worst way; her humor is stodgier than the most retro Catskills laughmeister.

If your idea of a good time is watching a disjointed period piece featuring a scrawny dog defecating, dozens of dissipated people fornicating and a syphilitic Johnny Depp with oozing pustules on his face, The Libertine may be just the movie for you.

Don't expect the seventh Star Wars film here. Star Wars: The Clone Wars is more like a long Saturday morning cartoon.

Given its complete lack of suspense, eroticism, ensemble acting, and other mere tangibles, Paul Schrader's The Comfort of Strangers (with a Harold Pinter script) is destined to wind up lacking even a modest theatrical run. [29 Mar 1991, p.5D]

With Leto flying and jumping through New York City as a do-gooding bloodsucker with moral “Should I feast on my fellow man?” quandaries, “Morbius” is a lifeless slog with no real bite.

There’s fish-out-of-water hijinks as the Martian boy looks for the dad he never knew, but the whole sci-fi narrative collapses into a mess of illogical story beats and groan-inducing quasi-tragic bits right out of "Love Story."

The writing here is rarely funny, and often trite and predictable. A couple of scenes are downright disturbing:

The desperately titled Harley Davidson and the Marlboro Man takes place in 1996, an apparent ploy to sugarcoat a script that would be unswallowable set today. Of course, even if it were set in 3996, this film still would be one helluva tight cram down the old esophagus. [23 Aug 1991, p.4D]

A didactic and humorless Western, Eli is too laborious for an action film and too brutal to be an inspirational tale.

It would appear that director Scott Kalvert never met a cliché he didn't like. No telegraphing is too obvious or simplistic for this movie.

While it doesn't exactly reek like week-old refuse, there's a certain stale odor about Men at Work - like a Saturday Night Live skit that goes on too long. And any film whose soundtrack is divided between reggae and classical definitely has identity problems. [27 Aug 1990]

While it's billed as a "re-imagining" of the horror franchise, this Friday is more like a rehash, delivering just what you expect and nothing more.

A sluggish, tedious film about lost souls living dead-end lives in a dead-end town. Their actions often defy rationality.

Where 1991's "Thelma & Louise" was funny and action-filled, Tammy's story is thin, cringe-inducing and, worst of all for a comedy, not funny. Jokes land with a thud and the pacing is leaden.

If you've been lobotomized or have the mental age of a kindergartener, Mr. Bean's Holiday is viable comic entertainment.

If you're of a mind to believe a dreary and far-fetched thriller about numerology-crazed alien life forms, then you may find the movie mildly diverting.

Williams' use of shadows, offbeat angles and slow-motion makes the violence-induced fear and anger palpable. Less convincing is the story itself, which unravels as Tommy and Sincere choose their destinies. [20 Nov 1998]

So sadistic and disturbing, Games is easily the toughest movie to sit through since 1994's "Natural Born Killers."

Family Weekend is the kind of dark-for-dark's sake, wannabe quirkfest that proves indie films can be just as clichéd and vapid as the most soulless Hollywood movies.

The story doesn't clarify why the dragons hibernated for hundreds of years, nor why they awakened. Clearly, however, the filmmakers might have benefited from more sleep before penning the script.

There's no buildup (hence, no suspense) and no combustion between the leads. Dillon and Young are both better than their reps, and Dearden orchestrated the sizzle between Michael Douglas and Glenn Close in Fatal Attraction. Something must have gone terribly awry here. [26 Apr 1991, p.4D]

Flippantly hip without any solid laughs, Life strains to be the flick more offbeat. [24Oct1997 pg06.D]

The only redeeming feature about The Gunman is its exotic locations.