The only way a self-absorbed treatise like this can get any kind of audience (not to mention distribution) is to cast famous people in it.

Even the staunchest of golfheads must know they're watching a cut-and-trite accounting.

If you're going to make a gross-out comedy you can't just be gross. You've got to be to be funny as well, or the movie will be DOA. Which is why Eurotrip should be toe-tagged and shoved into the deepest and coldest of video vaults.

In the end, Davis ends up a wasted resource. She does her best to elevate the material, but the story fails to live up to her considerable talents.

Wilson’s portrayal of Nargle/Ross isn’t so much a performance as an impersonation. It’s a thin coat of paint, in other words, covering up some serious cracks in the storytelling.

If its made-for-TV sensibility explains its chaotically blobby shooting style, it doesn't clarify a plot so painfully padded that it looks for laughs in strange digressive asides regarding bratwurst and coffee.

Bad role models sometimes make the most interesting movie characters. The ill-mannered, unkempt, foulmouthed and hot-tempered title character of Hesher is just such a walking contradiction.

Shamelessly catering to fans of the original film, while giving them nothing new, its story and humor are also inexplicably calibrated for a much younger demographic than those old enough to have seen the first film when it came out.

It's kind of like a hit man's Olympics. Isn't this grown-up? In a word, no, and that's what's so much fun about it.

I found it a rough night at the flickers.

In Adrian Lyne's latest monstrosity, love takes on money -- and loses. Not necessarily in the story, of course. This is a Hollywood movie. I'm talking between the lines.

There's more waiting than lightning in Waiting for Lightning, a nonetheless watchable-enough documentary about the preparations leading up to professional skateboarder Danny Way's historic 2005 attempt to sail over the Great Wall of China on a skateboard.

Before it veers off course, The Rooftop is lively, funny and colorful... Too bad Chou decided to shoehorn the gangster genre into a movie that would have worked just fine as a mere comedy-romance-fantasy musical.

As the movie wears on, the plot points become increasingly far-fetched, and what started out as a moody if by-the-book thriller becomes increasingly silly. All the while, Roberts gives her all.

Depressing as it is dull as it is dumb.

Yet as good as she is, the actress is little more than the framing device for this polished and morally provocative — yet hardly pulse-pounding — tale, loosely based on the life of English spy Melita Norwood.

There's the scene in which Jacques, the French Canadian proprietor of the Power and Glory, tells Laura, "I am the Great Went," to which she responds, "I am the muffin." Jacques returns, "I'm as blank as a fart." Maybe all Jacques is saying is "I am full of gas." Certainly Twin Peaks: Fire Walk With Me seems to be.

Most action flicks would settle for thrilling violence and mayhem, in service of a utilitarian plot. “Angel” flips this formula on its head, delivering a surprisingly coherent story but with no discernible sense of fun.

Despite the flailing around, the picture fitfully accumulates a handful of modest highlights and silly brainstorms. [03 Feb 1984, p.E6]

Basically "Beaches" without Hershey and the salt water. This insipid suck-face-athon provokes the gag reflex.

Disjointed drama filled with one-dimensional characters and melodrama so Lifetime movie-esque that it careens into unintentional comedy.

The plot, in which Swank is given little more to do than guzzle Costco-size bottles of liquor and mope, proceeds in somewhat somnambulist fashion, generating surprisingly little suspense even when Paige confronts a suspect whose identity has been telegraphed throughout the film. This comes as a disappointment, at least for viewers who have watched a movie or two before.

At times, Rampage almost hides its problems. It’s just funny enough, just exciting enough and just visually impressive enough. What it never is, though, is anything more than just enough.

Hinton was still a Tulsa teen when she wrote the best seller (4 million copies in seven languages) in the mid-1960s. Her brain wasn't mucked up with adult equivocation, so she didn't get into those confusing gray zones. Great for her, but not for Coppola, who turns this long-awaited story into baffling mush.

A super-stoked action thriller

Babysitting, the directorial debut of The Goonies and Gremlins writer Chris Columbus, is a sweet-natured, adolescent variation on the big-city black comedy After Hours.

Offers up the kind of pleasures that only a summer movie can...The cast is good-looking, the soundtrack is loud, the plot is stupid.

Both lead players are appealing and attractive enough to make an otherwise tepid movie at least un-excruciating.