Jade recalls Sliver (even before its fizzled finale) by reuniting Eszterhas with producer Robert Evans, the faded genius and ill-pegged comeback producer who fared better with last year's lively autobiography The Kid Stays in the Picture. Judging from his last two movies, the aging kid stays on the D-list, too.

Actually does manage to be the best of the BDSM bore-fests in the forgettable erotic saga based on E.L. James’ Fifty Shades novels.

Fun is hiding behind a bad movie costume in this humorless and idiotic Halloween teen comedy.

Homefront is what "Breaking Bad" may have resembled had Sylvester Stallone written the TV show.

If Sandler hopes to win over new fans, he may want to cork the scatological humor and let it age a bit.

Glaringly lacking in the film are any original Stones songs. The group, who fired Jones just before his death, must not have thought much of the movie if they didn't allow their music to be used. Smart fellows.

Though it's only 90 minutes, the film drags, making these not-so-easy riders pretty tough to watch.

The murkiest-looking movie since Ben Affleck's “Daredevil” and about as lacking in charm.

You, Me and Dupree is a good idea badly executed.

The first one was silly fun, amusing and oddly inventive; the second is plodding, unfunny and almost cringe-worthy.

We're the Millers is a twisted road trip worth avoiding. Not only is it not funny, it's offensive.

Farrell is quite good, though it's hard to buy the Scottish McGregor and the Irish Farrell as brothers. But mostly, the film feels rudderless, almost as if it's been directed on autopilot.

Alpha and Omega is one of those rarities in the modern era of Hollywood animation: bad.

Terminator used to be a sci-fi franchise defined by its cool time-travel concept and even better special effects. Unfortunately, it's "Hasta la vista, baby," to those good old days.

Feels like a bad sitcom.

The story is tedious, noisy and banal. It is also rather dark and convoluted for children, though it does have the familiar bombast of a video game.

A succession of tired race jokes made worse by the bad comedic timing of the bland, under-talented Ashton Kutcher.

It comes off like a coughed-up furball: a wan rehash with too many elements of the hard-to-swallow 2004 original.

True, most Christmas flicks tend toward the trite and predictable naturally but they just don’t have to be quite this insufferable.

Tango is a Lethal Weapon without lethal wit. [22 Dec 1989, p.7D]

This guy defines loner. He's on the outs with his father and kid brother, and the Koreans treat him like he's the Vanilla Ice of karate. Generation gap. Cultural gap. Logic gap. Weapon has more gaps than a cut-rate set of dentures. [19 Mar 1991, p.8D]

The performances don't help matters any, with acting ranging from tolerably earnest to laughable. Cage keeps Left Behind from being a completely unholy mess.

This implausible action thriller also stars Julianne Moore as an FBI agent who sees Cage's two-bit Vegas act and decides he can single-handedly save the world.

An insult to the memory of the cleverly written show and its celebration of friendship, it's a slap in the face for the four gal pals (often photographed at unflattering angles) and an affront to Muslims.

You don't envy the three soldiers who get shot for desertion, but you do identify with their desire to flee.

Nothing happens that is not thoroughly predictable under Jeff (Revenge of the Nerds) Kanew's direction. Maybe kids, even though they won't have a clue about all those references to chichi Beverly Hills hairstylists, may find these shenanigans more fun than anybody. Maybe we could find a badge for them: the endurance badge. [22 March 1989, p.4D]

When the cast starts wondering where the roadkill is, someone says, "Follow the smell." Good tip: That's how you'll know where Wax is playing.

More moronic than demonic. [20 Aug 1990]