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unfunny and lacking any sense of commitment to or affection for its characters , the reginald hudlin comedy relies on toilet humor , ethnic slurs .

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basically , it's pretty but dumb .

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this romantic/comedy asks the question how much souvlaki can you take before indigestion sets in .

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squandering his opportunity to make absurdist observations , burns gets caught up in the rush of slapstick thoroughfare .

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there's a neat twist , subtly rendered , that could have wrapped things up at 80 minutes , but kang tacks on three or four more endings .

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reeboir varies between a sweet smile and an angry bark , while said attempts to wear down possible pupils through repetition . it has no affect on the kurds , but it wore me down .

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the actors improvise and scream their way around this movie directionless , lacking any of the rollicking dark humor so necessary to make this kind of idea work on screen .

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co-writer/director jonathan parker's attempts to fashion a brazil-like , hyper-real satire fall dreadfully short .

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if this silly little cartoon can inspire a few kids not to grow up to be greedy bastards , more power to it .

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a superfluous sequel . . . plagued by that old familiar feeling of 'let's get this thing over with' : everyone has shown up at the appointed time and place , but visible enthusiasm is mighty hard to find .

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if there's a heaven for bad movies , deuces wild is on its way .

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comes off like a bad imitation of the bard .

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what's missing in murder by numbers is any real psychological grounding for the teens' deviant behaviour . being latently gay and liking to read are hardly enough .

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an uninspired preachy and clichéd war film .

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horrendously amateurish filmmaking that is plainly dull and visually ugly when it isn't incomprehensible .

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a movie that harps on media-constructed 'issues' like whether compromise is the death of self… this orgasm [won't be an] exceedingly memorable one for most people .

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slackers' jokey approach to college education is disappointingly simplistic -- the film's biggest problem -- and there are no unforgettably stupid stunts or uproariously rude lines of dialogue to remember it by .

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if festival in cannes nails hard- boiled hollywood argot with a bracingly nasty accuracy , much about the film , including some of its casting , is frustratingly unconvincing .

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the movie is too impressed with its own solemn insights to work up much entertainment value .

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i haven't seen such self-amused trash since freddy got fingered .

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little more than a well-mounted history lesson .

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rob schneider's infantile cross-dressing routines fill the hot chick , the latest gimmick from this unimaginative comedian .

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a horrible , 99-minute stink bomb .

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the film is weighed down by supporting characters who are either too goodly , wise and knowing or downright comically evil .

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her fans walked out muttering words like " horrible " and " terrible , " but had so much fun dissing the film that they didn't mind the ticket cost . in this case zero .

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the film is so bad it doesn't improve upon the experience of staring at a blank screen .

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sheridan's take on the author's schoolboy memoir . . . is a rather toothless take on a hard young life .

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it jumps around with little logic or continuity , presenting backstage bytes of information that never amount to a satisfying complete picture of this particular , anciently demanding métier .

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how i killed my father is one of those art house films that makes you feel like you're watching an iceberg melt -- only it never melts .

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when it comes to the battle of hollywood vs . woo , it looks like woo's a p . o . w .

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there are a few chuckles , but not a single gag sequence that really scores , and the stars seem to be in two different movies .

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the chateau has one very funny joke and a few other decent ones , but all it amounts to is a mildly funny , sometimes tedious , ultimately insignificant film .

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it's dull , spiritless , silly and monotonous : an ultra-loud blast of pointless mayhem , going nowhere fast .

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the mushy finale turns john q into a movie-of-the-week tearjerker .

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content merely to lionize its title character and exploit his anger - all for easy sanctimony , formulaic thrills and a ham-fisted sermon on the need for national health insurance .

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the movie turns out to be [assayas'] homage to the gallic 'tradition of quality , ' in all its fusty squareness .

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its message has merit and , in the hands of a brutally honest individual like prophet jack , might have made a point or two regarding life .

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[seems] even more uselessly redundant and shamelessly money-grubbing than most third-rate horror sequels .

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it's hard to imagine that even very small children will be impressed by this tired retread .

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neither as scary-funny as tremors nor demented-funny as starship troopers , the movie isn't tough to take as long as you've paid a matinee price .

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if swimfan does catch on , it may be because teens are looking for something to make them laugh .

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what might've been an exhilarating exploration of an odd love triangle becomes a sprawl of uncoordinated vectors .

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the master of disguise may have made a great saturday night live sketch , but a great movie it is not .

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it's quite an achievement to set and shoot a movie at the cannes film festival and yet fail to capture its visual appeal or its atmosphere .

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boll uses a lot of quick cutting and blurry step-printing to goose things up , but dopey dialogue and sometimes inadequate performances kill the effect .

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it's always disappointing when a documentary fails to live up to -- or offer any new insight into -- its chosen topic . unfortunately , that's precisely what arthur dong's family fundamentals does .

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has the marks of a septuagenarian ; it's a crusty treatment of a clever gimmick .

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like a medium-grade network sitcom--mostly inoffensive , fitfully amusing , but ultimately so weightless that a decent draft in the auditorium might blow it off the screen .

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something must have been lost in the translation .

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becomes the last thing you would expect from a film with this title or indeed from any plympton film : boring .

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in the end , the film feels homogenized and a bit contrived , as if we're looking back at a tattered and ugly past with rose-tinted glasses .

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chan's stunts are limited and so embellished by editing that there's really not much of a sense of action or even action-comedy .

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rock's stand-up magic wanes . hopkins , squarely fills the screen . action - mechanical .

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" the tuxedo " should have been the vehicle for chan that " the mask " was for jim carrey . alas , it's the man that makes the clothes .

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for casual moviegoers who stumble into rules expecting a slice of american pie hijinks starring the kid from dawson's creek , they'll probably run out screaming .

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the biggest problem i have ( other than the very sluggish pace ) is we never really see her esther blossom as an actress , even though her talent is supposed to be growing .

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what puzzles me is the lack of emphasis on music in britney spears' first movie .

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plot , characters , drama , emotions , ideas -- all are irrelevant to the experience of seeing the scorpion king .

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city by the sea is a gritty police thriller with all the dysfunctional family dynamics one could wish for . but how it washed out despite all of that is the project's prime mystery .

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whatever the movie's sentimental , hypocritical lessons about sexism , its true colors come out in various wet t-shirt and shower scenes .

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as a hybrid teen thriller and murder mystery , murder by numbers fits the profile too closely .

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there ain't a lot more painful than an unfunny movie that thinks it's hilarious .

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i enjoyed the movie in a superficial way , while never sure what its purpose was .

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what a pity . . . that the material is so second-rate .

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doesn't deliver a great story , nor is the action as gripping as in past seagal films .

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the kind of film that leaves you scratching your head in amazement over the fact that so many talented people could participate in such an ill-advised and poorly executed idea .

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nicks refuses to let slackers be seen as just another teen movie , which means he can be forgiven for frequently pandering to fans of the gross-out comedy .

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nothing about the film -- with the possible exception of elizabeth hurley's breasts -- is authentic .

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amid the cliché and foreshadowing , cage manages a degree of casual realism . . . that is routinely dynamited by blethyn .

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mostly , shafer and co-writer gregory hinton lack a strong-minded viewpoint , or a sense of humor .

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no cliche escapes the perfervid treatment of gang warfare called ces wild .

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eddie murphy and owen wilson have a cute partnership in i spy , but the movie around them is so often nearly nothing that their charm doesn't do a load of good .

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strictly a 'guy's film' in the worst sense of the expression .

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there's some good material in their story about a retail clerk wanting more out of life , but the movie too often spins its wheels with familiar situations and repetitive scenes .

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it's a lot to ask people to sit still for two hours and change watching such a character , especially when rendered in as flat and impassive a manner as phoenix's .

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there's something fishy about a seasonal holiday kids' movie . . . that derives its moment of most convincing emotional gravity from a scene where santa gives gifts to grownups .

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we're left with a story that tries to grab us , only to keep letting go at all the wrong moments .

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like many such biographical melodramas , it suffers from the awkwardness that results from adhering to the messiness of true stories .

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there is nothing redeeming about this movie .

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the film has [its] moments , but they are few and far between .

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a dreary indulgence .

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i was trying to decide what annoyed me most about god is great . . . i'm not , and then i realized that i just didn't care .

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derailed by bad writing and possibly also by some of that extensive post-production reworking to aim the film at young males in the throes of their first full flush of testosterone .

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deserves high marks for political courage but barely gets by on its artistic merits .

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. . . comes alive only when it switches gears to the sentimental .

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brosnan's finest non-bondish performance yet fails to overcome the film's manipulative sentimentality and annoying stereotypes .

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a film that will be best appreciated by those willing to endure its extremely languorous rhythms , waiting for happiness is ultimately thoughtful without having much dramatic impact .

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to me , it sounds like a cruel deception carried out by men of marginal intelligence , with reactionary ideas about women and a total lack of empathy .

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tsai may be ploughing the same furrow once too often .

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flashy gadgets and whirling fight sequences may look cool , but they can't distract from the flawed support structure holding equilibrium up .

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zigzag might have been richer and more observant if it were less densely plotted .

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[a] crushing disappointment .

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how can such a cold movie claim to express warmth and longing ? in truth , it has all the heart of a porno flick ( but none of the sheer lust ) .

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nicks and steinberg match their own creations for pure venality -- that's giving it the old college try .

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episode ii-- attack of the clones is a technological exercise that lacks juice and delight .

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the problem with all of this : it's not really funny .

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[denis'] bare-bones narrative more closely resembles an outline for a '70s exploitation picture than the finished product .

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wanders all over the map thematically and stylistically , and borrows heavily from lynch , jeunet , and von trier while failing to find a spark of its own .

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viewing this underdramatized but overstated film is like watching a transcript of a therapy session brought to humdrum life by some freudian puppet .

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overall tomfoolery like this is a matter of taste .

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