David Sterritt

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For 1,985 reviews, this critic has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 3.4 points higher than other critics. (0-100 point scale)

David Sterritt's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 My Architect
Lowest review score: 0 The Wedding Planner
Score distribution:
1985 movie reviews
    • 38 Metascore
    • 50 David Sterritt
    Great cast, great atmosphere, little sense or first-rate suspense.
    • 38 Metascore
    • 50 David Sterritt
    Only part of it is in 3-D, but youngsters should enjoy pulling their special specs on and off at appropriate moments.
    • 37 Metascore
    • 25 David Sterritt
    A director of Frankenheimer's stature deserves less sensationalistic material, and so does his audience.
    • 37 Metascore
    • 50 David Sterritt
    This isn't a Ferrara classic like "King of New York," but even his less- memorable pictures carry an eccentric kick no other director could duplicate.
    • 37 Metascore
    • 75 David Sterritt
    Coil up with a tub of popcorn, get a stranglehold on your soda - this is a creepy, action-packed boat ride down a jungle river with lots of huge snakes dropping by for man-sized snacks.
    • 37 Metascore
    • 25 David Sterritt
    The overlong comedy has few laughs and flirts far too much with racist, homophobic humor. A waste of a fine cast.
    • 37 Metascore
    • 50 David Sterritt
    Filmmakers run out of ideas long before the final.
    • tbd Metascore
    • 50 David Sterritt
    Documentary about stock trading, with some vivid images but no clear perspectives or opinions on the material it presents.
    • 37 Metascore
    • 50 David Sterritt
    Most of the movie is standard action fare, but the political commentary is interesting when it's allowed to surface.
    • 37 Metascore
    • 50 David Sterritt
    It's fun to watch for a while. But the movie runs much too long, and a few funny bits aside, most of the comedy writing is lame.
    • 37 Metascore
    • 25 David Sterritt
    Tennant's featherweight comedy is clearly pitched at the date-movie crowd, and couples may enjoy it if they can get past the picture's simplistic ethnic stereotypes and its willingness to wish away every real-life family problem the characters will surely face after the feel-good finale.
    • 37 Metascore
    • 50 David Sterritt
    The screenplay aims high in terms of humanity and complexity, but director Hoge drains it of energy with listless meanderings that provide more yawns than insights.
    • 37 Metascore
    • 25 David Sterritt
    Let's look at the bright side. If this movie bombs as it deserves to, we won't have to sit through "Analyze Those" a few years from now!
    • 37 Metascore
    • 50 David Sterritt
    Figgis brings strong visual imagination to the first hour, but he can't rescue Richard Jefferies's screenplay from plot holes bigger than the manor itself.
    • 37 Metascore
    • 25 David Sterritt
    Audiences may want their own speedy divorce from this irritating collection of stale jokes, pointless vulgarities, and warmed-over clichés.
    • 37 Metascore
    • 50 David Sterritt
    The last scenes etch one of the most revealing depictions of capital punishment ever put on the wide screen.
    • 37 Metascore
    • 50 David Sterritt
    The movie has homophobic touches, though, and with so many Asian characters, some viewers may wonder why every single one is portrayed as either a hapless victim or a wicked villain.
    • 37 Metascore
    • 50 David Sterritt
    Robin Williams is no Fred MacMurray, but he plays the hero with his customary energy.
    • 36 Metascore
    • 25 David Sterritt
    This superficial treatment makes so many dubious decisions - oversimplifying issues, for instance, so there'll be more time for high-flying emotion - that 1960s veterans may be moved to protest rather than praise.
    • 36 Metascore
    • 50 David Sterritt
    The picture is intriguing and obnoxious in equal measure; even Berkowitz gets tired of the game before it's over, but there are some laughs and surprises along the way.
    • 36 Metascore
    • 75 David Sterritt
    Crammed with show-biz jokes that younger kids won't fathom, but the action is so quick and colorful that they probably won't mind.
    • 36 Metascore
    • 50 David Sterritt
    A spicy critique of tabloid TV is buried in romantic-comedy material that strains too hard for cuteness. Ditto for Murphy's acting.
    • 36 Metascore
    • 25 David Sterritt
    Like the recent "Mona Lisa Smile," this tale could have been an effective feminist fable if it weren't so calculated.
    • 36 Metascore
    • 50 David Sterritt
    Hovering between "Last Action Hero" and "E.T.," this sci-fi extravaganza is bookended with violence but has some gentle moments in between.
    • 36 Metascore
    • 25 David Sterritt
    It will be interesting to see whether audiences embrace Mr. Diesel's barely controlled vigilante as warmly as they embraced Clint Eastwood's swaggering "Dirty Harry" and Charles Bronson's nasty "Death Wish" characters a few decades ago.
    • 36 Metascore
    • 75 David Sterritt
    The drama makes up in intellectual weight what it sometimes lacks in psychological interest and cinematic realism.
    • 36 Metascore
    • 50 David Sterritt
    Salomon directed the silly but diverting action yarn, which benefits from the talents of Freeman, Quaid, Driver, and White.
    • 36 Metascore
    • 25 David Sterritt
    The action is snappy and quick, but why does this youth-targeted adventure pit white male heroes against a trio of villains comprising a black man, an Asian man, and an ugly woman?
    • 36 Metascore
    • 25 David Sterritt
    Plenty of mad moviegoers will put this in their diaries as one of the worst pictures in ages.
    • 36 Metascore
    • 12 David Sterritt
    Arnold Schwarzenegger fights an outer-space monster in a third-world jungle. The monster never has a chance. Neither does the jungle. Neither does the audience. [19 June 1987, Arts & Leisure, p.23]
    • Christian Science Monitor
    • 36 Metascore
    • 75 David Sterritt
    This visually intricate fantasia combines his (Greenaway's) extraordinary cinematic imagination with a story and characters less compelling than those in his best works.
    • 36 Metascore
    • 25 David Sterritt
    It seems to have had the opposite effect on the director's taste, as she strives for new levels of raunchiness.
    • 36 Metascore
    • 50 David Sterritt
    The plot is sordid and predictable -- indiscriminate nightclubbing leads to escalating drugs, promiscuity, and violence. Things perk up cinematically in the last few scenes, but by then it's almost too late.
    • 36 Metascore
    • 50 David Sterritt
    The only aspect that emerges a winner is the gorgeous Mediterranean scenery.
    • 36 Metascore
    • 25 David Sterritt
    Four chuckles and a lively final-credits sequence are a mighty poor score for 99 minutes of alleged comedy, and the sentimental stuff is even worse.
    • 36 Metascore
    • 25 David Sterritt
    The satire is intermittently amusing, but Arcand adds little to the arsenal of standard mockumentary tricks, and the interesting cast doesn't get many interesting things to do.
    • 36 Metascore
    • 50 David Sterritt
    Darkly elegant cinematography helps compensate for awful dialogue and lackluster acting.
    • 36 Metascore
    • 50 David Sterritt
    It's a pity that such vital, thought-provoking material has been rendered so lifeless and inauthentic on the screen.
    • 36 Metascore
    • 50 David Sterritt
    Less an American product than an international escapade, it's the kind of pigeonhole-resisting romp that Hollywood too rarely provides.
    • 35 Metascore
    • 50 David Sterritt
    It's all very colorful, but the movie's diverse elements clash as often as they cooperate.
    • 35 Metascore
    • 50 David Sterritt
    The result is a run-of-the-mill fantasy, competently produced but disappointingly familiar, from its "Forbidden Planet" premise to the digital-clock countdown near the end.
    • 35 Metascore
    • 50 David Sterritt
    Danny Boyle's dark comedy has stylishly filmed moments, but overall it's a queasy blend of amusing, pointless, and sometimes quite nasty material.
    • 35 Metascore
    • 50 David Sterritt
    The comedy is appealing as Hollywood's umpteenth variation on the Cinderella story, but think about its patrician views of upper-class privilege and you might find it too simplistic for comfort.
    • 35 Metascore
    • 25 David Sterritt
    How did a dignified pro like Duvall get stuck in this fender-bender?
    • 35 Metascore
    • 50 David Sterritt
    Based on a novel by French provocateur Georges Bataille, an important thinker whose fiction rarely translates into good cinema.
    • 35 Metascore
    • 50 David Sterritt
    The settings and visual effects are imaginatively done, but the dialogue is silly and the plot is a mishmash, with echoes of everything from the "Aliens" movies to Michael Crichton's novel "Sphere," which pushes similar buttons a little more intelligently.
    • 35 Metascore
    • 25 David Sterritt
    In sum, Van Helsing is yet another video game disguised as a wide-screen epic. Here's hoping the box office drives a firm wooden stake through its hokey Hollywood heart.
    • 35 Metascore
    • 25 David Sterritt
    Carpenter pulls out all the action-adventure stops, but he and coscripter Larry Sulkis forgot to write dialogue the audience could listen to without howling in disbelief.
    • 35 Metascore
    • 25 David Sterritt
    This low-budget drama tries very hard to convey messages of tolerance and compassion, but it's too weakly acted and directed to have much impact.
    • 35 Metascore
    • 50 David Sterritt
    Mildly entertaining for a while; think "Stand by Me" meets "Alien," with a soupçon of "Starship Troopers" tossed in.
    • 35 Metascore
    • 50 David Sterritt
    It's rare for an Egyptian movie to look so closely and unflinchingly at class conflict and other forms of social disarray, but lively acting keeps the story engaging even when it wanders and meanders.
    • 35 Metascore
    • 25 David Sterritt
    So sloppily made that it's barely coherent.
    • 34 Metascore
    • 50 David Sterritt
    The picture is equally long on eye-dazzling camera work and New Age sentimentality.
    • 34 Metascore
    • 25 David Sterritt
    Crash-lands as disastrously as the heroes and never quite recovers its wits.
    • 34 Metascore
    • 50 David Sterritt
    A romantic comedy that's pleasant, if not exactly spellbinding.
    • 34 Metascore
    • 50 David Sterritt
    While the story and acting are the opposite of subtle, young moviegoers may enjoy the action and suspense.
    • 34 Metascore
    • 58 David Sterritt
    Very broad, very brash ''film noir'' satire...The action is fast, flashy, sometimes funny, always loud. [13 June 1986, p.25]
    • Christian Science Monitor
    • 34 Metascore
    • 50 David Sterritt
    The premise is promising, but Herzfeld cares more about sensationalism than substance, and portions of the picture are far nastier than they had to be.
    • 34 Metascore
    • 50 David Sterritt
    While it may supply giggles and shivers to preteens, grownups should think twice before entering this all-too-haunted house.
    • 34 Metascore
    • 50 David Sterritt
    Wants to appear bold and liberated, but it seems awfully solemn about the subculture it explores.
    • 34 Metascore
    • 25 David Sterritt
    Dull despite its suspense-driven story.
    • 34 Metascore
    • 50 David Sterritt
    Starts quirky, grows steadily darker, doesn't build much excitement.
    • 34 Metascore
    • 25 David Sterritt
    It's picaresque, all right, but full of ethnic stereotypes, and filmed much too blandly to compete with the superb ''Black Stallion'' of a few years ago.
    • 34 Metascore
    • 25 David Sterritt
    Travolta and Jackson have some effective scenes, but Nielsen is lacking in charisma, and James Vanderbilt's screenplay ought to be court-martialed.
    • 34 Metascore
    • 75 David Sterritt
    Unexpectedly entertaining, if you're willing to put up with the picture's stagy look, over-the-top moods, and heavy doses of vulgarity.
    • 34 Metascore
    • 50 David Sterritt
    The adventure is vulgar and violent, although the special effects are impressive.
    • 34 Metascore
    • 25 David Sterritt
    The comedy isn't quite as crude as it sounds, but there's not much of value here beyond a little lively acting.
    • 34 Metascore
    • 75 David Sterritt
    The plot isn't very original, but the acting and dialogue have a low-key realism that packs more emotional punch than a dozen of the standard-issue romantic dramas crowding the independent-film scene.
    • 33 Metascore
    • 25 David Sterritt
    There's nothing special about this movie -- it's just business as usual for today's debased action-movie genre.
    • 33 Metascore
    • 25 David Sterritt
    Too bad (Arnold) can't save the movie from it's superstitious clap-trap, sadistic violence, and sheer silliness.
    • 33 Metascore
    • 25 David Sterritt
    House of D, arrives in theaters this week, after debuting at the Tribeca Film Festival last year. I'm sorry to report it's the opposite of impressive.
    • 33 Metascore
    • 25 David Sterritt
    Romano tries hard, but it takes real big-screen talent to draw laughs and emotions from material as flimsy and formulaic as the script.
    • tbd Metascore
    • 25 David Sterritt
    The results are unbelievably tedious, but Mansfield buffs may find it intermittently worthwhile.
    • 33 Metascore
    • 50 David Sterritt
    There's a little humor, a little suspense, and not a hint of reality. You'll tune out quickly, unless you're 11.
    • 33 Metascore
    • 75 David Sterritt
    This remake stays close to the eponymous 1979 horror movie it's based on, except for being precisely 10,000 times scarier.
    • 33 Metascore
    • 75 David Sterritt
    Add marvelously imaginative directing -- finally Yakin fulfills the promise he showed in "Fresh" almost a decade ago -- and you have a colorful, creative, deliciously frolicsome romp.
    • 33 Metascore
    • 50 David Sterritt
    Keaton doesn't have quite enough filmmaking savvy to balance the story's heart-wrenching and smile-coaxing aspects.
    • 33 Metascore
    • 25 David Sterritt
    There are a few clever lines and Cleese has some sensational moments, but that's not enough to make the farce seem fresh.
    • 33 Metascore
    • 0 David Sterritt
    Frankly, it's excruciating to watch.
    • 33 Metascore
    • 25 David Sterritt
    The story is inspirational in a superficial way, but the filmmakers focus so exclusively on their attractive heroine that the picture loses any real connection with Africa.
    • 33 Metascore
    • 50 David Sterritt
    The cast is cute and the action is colorful, but the comedy isn't as captivating as it sets out to be.
    • 33 Metascore
    • 25 David Sterritt
    Viewers of that age may overlook the contrived situations and the awful acting, which consists mainly of frozen grins. Nobody else will.
    • 33 Metascore
    • 50 David Sterritt
    The most entertaining scenes focus on the lovable louts and losers who share the boardinghouse where the protagonist - based on a comic-book character billed as a superhero without superpowers - prepares his grisly exploits. The rest is mayhem.
    • 32 Metascore
    • 25 David Sterritt
    Suffers from a lack of chemistry.
    • 32 Metascore
    • 50 David Sterritt
    This dark psychological story falls short in terms of filmmaking and acting, but it's original enough to stand out from the crowd.
    • 32 Metascore
    • 50 David Sterritt
    The movie's heart is in the right place, but it looks and sounds regrettably bogus.
    • 32 Metascore
    • 25 David Sterritt
    As dopey as its heroes, and the cast's admirable energy isn't enough to keep the story punching through the final round.
    • 32 Metascore
    • 50 David Sterritt
    Sol doesn't knit the complicated story into a coherent flow, but there are many visually striking moments along the way.
    • 32 Metascore
    • 50 David Sterritt
    This low-key drama is always warm and mellow, although it doesn't build much of an emotional charge.
    • 32 Metascore
    • 50 David Sterritt
    Conjures up enough involving moments to create some drama.
    • 32 Metascore
    • 25 David Sterritt
    The dialogue is dumb ('zilla has the best lines, "arrrrrggh" and "maaroarrr"), New York is waterlogged, and Godzilla isn't on screen enough.
    • 32 Metascore
    • 75 David Sterritt
    Alex & Emma isn't nearly as clever as Reiner's classic "Misery," a very different look at a male writer and his female companion. But it's diverting fun.
    • 32 Metascore
    • 25 David Sterritt
    Strains to be shockingly original but winds up as cheap and cheesy as its characters.
    • 32 Metascore
    • 25 David Sterritt
    Muddled screenwriting and uninspired directing.
    • 31 Metascore
    • 25 David Sterritt
    A few mildly amusing gags don't outweigh the trite situations and mean-spirited attitude of this comedy.
    • 31 Metascore
    • 50 David Sterritt
    Quirky acting combines with Ferrara's dark, brooding style to give the throwaway story a noteworthy measure of dramatic and cinematic interest.
    • 31 Metascore
    • 12 David Sterritt
    A dark comedy about a bachelor party gone awry, it is excessively violent, ghoulish, and gory. Very Bad Things is lack-of-taste taken to the extreme.
    • Christian Science Monitor
    • 31 Metascore
    • 75 David Sterritt
    The movie works fairly well as a pitch-dark comedy, and very well as a dead-on satire of upward mobility and its discontents.
    • 31 Metascore
    • 25 David Sterritt
    The comedy is shamelessly stupid and flagrantly vulgar by turns.
    • 31 Metascore
    • 50 David Sterritt
    If the heroine really had seven days left, she wouldn't waste it watching stuff like this.
    • 31 Metascore
    • 50 David Sterritt
    More concerned with quickening our pulses than broadening our minds.
    • 31 Metascore
    • 50 David Sterritt
    Adam Sandler is funny as the volatile hero, and the screenplay is just abrasive enough to keep the story surprising.
    • 31 Metascore
    • 50 David Sterritt
    Intermittently insightful, but a disappointment from the talented Munch.
    • 30 Metascore
    • 50 David Sterritt
    The comedy as a whole is very slight.
    • 30 Metascore
    • 25 David Sterritt
    At 225 minutes long, it feels like a trilogy in itself. That wouldn't be a problem if it had energy and imagination, but those qualities are missing, as is any sense of historical or philosophical context.
    • 30 Metascore
    • 25 David Sterritt
    Opium- addicted Allan Quatermain becomes none other than Sean Connery. At least he gives a real movie-star performance, which is more than the other gentlemen manage. Extraordinary? Balderdash!
    • 30 Metascore
    • 50 David Sterritt
    Beneath its regrettably banal surface, White Noise raises the creepy question of whether intimidating, even malign forces may be lurking in those fancy gadgets that fill our living rooms and offices.
    • 30 Metascore
    • 50 David Sterritt
    It's as forgettable as they come.
    • 30 Metascore
    • 25 David Sterritt
    As soon as I finish writing this review, I'm going to try traveling a few hours in the past. That way, I can improve my life by skipping this movie!
    • 30 Metascore
    • 25 David Sterritt
    The story is a string of sub-Scorsese clichés, and if engaging actors like Malkovich and Hopper seem to be sleepwalking through their roles, imagine how unwatchable Diesel manages to be.
    • 30 Metascore
    • 25 David Sterritt
    So vulgar and incoherent that even Hackman's gifts can't score a touchdown.
    • 30 Metascore
    • 50 David Sterritt
    Ultimately, it's more an emotional hodgepodge than a compassionate look at real human problems.
    • 30 Metascore
    • 25 David Sterritt
    The movie's one good performance is given by the house, full of ominous inscriptions, inscrutable chambers, and fiendish machines. The human characters are played with various degrees of manic overacting.
    • 29 Metascore
    • 25 David Sterritt
    Santa Claus's bag couldn't hold as many clichés as the screenplay dishes out.
    • 29 Metascore
    • 50 David Sterritt
    Polson's well-filmed thriller swims down the usual lanes for this sort of story, and everyone looks way too old for senior year; but many of the suspense scenes work fine, and Bradford is terrific as the endangered hero.
    • 29 Metascore
    • 50 David Sterritt
    Animated version of the Rogers & Hammerstein musical.
    • 29 Metascore
    • 25 David Sterritt
    The story takes place in 2013, but you'd hardly know it from the age-old clichés Kevin Costner purloins to tell this overblown action yarn, which relies so heavily on ideas borrowed from John Ford westerns that the Hollywood giant should have been credited as codirector; too bad Costner can't invest them with Ford's kind of life and originality, though.
    • 29 Metascore
    • 25 David Sterritt
    Breillat is a smart, serious observer of sexuality's often disruptive role in human life, but this existential drama is sadly pretentious.
    • 28 Metascore
    • 25 David Sterritt
    The film means well, but each scene gets clobbered by sappy screenwriting.
    • 28 Metascore
    • 38 David Sterritt
    Judged by the standards of ordinary filmmaking, it's as strange, suggestive, and surreal as other Lynch pictures have been. Judged by the standards of Lynch's own career, however, it's amazingly stale and second-hand… [and] contains not a single moment of genuinely felt emotion. [1 Sept 1992]
    • Christian Science Monitor
    • 28 Metascore
    • 50 David Sterritt
    Skillfully acted, idealized, uneven.
    • 28 Metascore
    • 75 David Sterritt
    This intensely topical satire tackles a wide range of important issues, from corporate whistle-blowing to the toll sexual license takes on stable family structures.
    • 28 Metascore
    • 38 David Sterritt
    The acting is sincere and the camera work is pretty, but this art-movie variation on "The Sixth Sense" doesn't have enough energy to fulfill the high promise of Berliner's previous picture, the enchanting "Ma vie en rose."
    • 28 Metascore
    • 50 David Sterritt
    George Clooney looks great in a cape, but this fourth installment in the series has invested so much capital in razzle-dazzle special effects that it hardly matters whose head is under the pointy-eared helmet.
    • 28 Metascore
    • 38 David Sterritt
    Blending animation and live action, this ferocious fantasy is hopelessly vulgar in ways never dreamed of by "Who Framed Roger Rabbit."
    • 27 Metascore
    • 75 David Sterritt
    Admirers of "Do Androids Dream of Electric Sheep?" and other Dick literature will enjoy this nonfiction look at the writer, his career, and his eccentricities, some of which were as bizarre as his fiction.
    • 27 Metascore
    • 0 David Sterritt
    This romantic comedy is so awfully misjudged and ineptly executed in every department that, while it isn't quite a contender for the "so bad it's good" category, this critic was nonetheless dabbing tears of laughter from his eyes.
    • 27 Metascore
    • 25 David Sterritt
    Repetitious teen-targeted fluff.
    • 27 Metascore
    • 50 David Sterritt
    The sweetest thing about Sweet November (a remake of the 1968 movie) is the on-screen magic between Charlize Theron and Keanu Reeves. But that's pretty much where the magic ends.
    • 27 Metascore
    • 25 David Sterritt
    The blend of live action and animation is competently done, but the subtly mean-spirited screenplay has more sour meows than hearty laughs.
    • 27 Metascore
    • 50 David Sterritt
    As coarse, vulgar, adolescent action comedies go, Beverly Hills Ninja comes across as relatively tame - less profanity, less violence, less sex than typical for this "Naked Gun" wannabe.
    • 27 Metascore
    • 50 David Sterritt
    Cube is cute and Long is lovely, but the youngsters are too brash and smug to bear. At least there's a heartwarming end to the excursion.
    • 27 Metascore
    • 25 David Sterritt
    The bad thing about A Guy Thing isn't the talent of its stars but the warmed-over triteness of the material they're forced to work with.
    • 27 Metascore
    • 25 David Sterritt
    The film tries to revive the sort of good-hearted optimism associated with Frank Capra classics of the 1940s era, but pictures like "It's a Wonderful Life" and "Mr. Smith Goes to Washington" were never so simplistic, syrupy, or tedious to sit through.
    • 27 Metascore
    • 25 David Sterritt
    Cartoonish effects and overacting make this more corn than catnip.
    • 27 Metascore
    • 50 David Sterritt
    Frivolous but fun, somewhere between a comic "French Connection" and the craziest Nascar race you never saw.
    • 27 Metascore
    • 25 David Sterritt
    Everyone tries very hard to make the story sweet and funny, but the soggy screenplay defeats them every time.
    • 26 Metascore
    • 25 David Sterritt
    Surely it couldn't be meant as dramatic realism! But it is. And amazingly, the movie gets worse as it goes along.
    • 26 Metascore
    • 25 David Sterritt
    The acting is solid and the heroine's quirky dialogue is amusing for a while. But repetitious writing and a weakly constructed story turn the promising premise into a disappointing mishmash of crime, politics, and show business.
    • 25 Metascore
    • 50 David Sterritt
    The movie starts with insights about the need for more humane values in health care, then buries them under an avalanche of frivolities, vulgarities, and clichés.
    • 25 Metascore
    • 50 David Sterritt
    Most of the laughs come near the beginning, before Rick Friedberg's klutzy directing becomes annoyingly monotonous.
    • 25 Metascore
    • 25 David Sterritt
    The movie has a well-meaning message about love and loyalty being the bedrock of real family values, but its good intentions sag as the story trades its air of mischievous comedy for trite sentimentality, arbitrary plot twists, and enough maudlin melodramatics to sustain a tabloid TV series.
    • 25 Metascore
    • 25 David Sterritt
    Even the delightful Duff disappoints.
    • 25 Metascore
    • 50 David Sterritt
    Costner is convincing as the hero, ably supported by Joe Morton as a short-tempered supervisor and Kathy Bates as a feisty neighbor. Dragonfly has little chance of "Ghost"-like popularity, though.
    • 25 Metascore
    • 25 David Sterritt
    The plot is predictable, the characters are cliches, and all the actors look and sound like refugees from a movie Martin Scorsese would have made vastly better three decades ago.
    • 24 Metascore
    • 25 David Sterritt
    Strenuously unfunny sequel.
    • 24 Metascore
    • 50 David Sterritt
    Three brief comedies filmed in English for a German television series. The most thoughtful is Seidelman's contribution, The Dutch Master."
    • 24 Metascore
    • 25 David Sterritt
    The plot is hamstrung by trite formulas, and there's too much violence and family tension for very young viewers. Shaquille O'Neal is likable as the title character, though.
    • 24 Metascore
    • 25 David Sterritt
    This is fatuous twaddle with a nasty, misogynistic edge.
    • 24 Metascore
    • 25 David Sterritt
    How could such a high-octane cast produce such low-octane horror?
    • 23 Metascore
    • 25 David Sterritt
    Violent and vapid, but the visual jolts may please horror buffs.
    • 23 Metascore
    • 50 David Sterritt
    It's all idiotic but energetic, directed by Jan De Bont in his usual techno-action style.
    • 22 Metascore
    • 25 David Sterritt
    One thing is certain: It's a bomb trying to be a hit, and at that it'll never succeed.
    • 22 Metascore
    • 25 David Sterritt
    Unoriginal.
    • 22 Metascore
    • 25 David Sterritt
    Its main message is that everyone should believe and behave in exactly the same way. Groupthink wins again!
    • 22 Metascore
    • 25 David Sterritt
    The picture's real interest lies in detailing the villain's sadistic crimes, though, and this is rarely fun or edifying to watch.
    • 21 Metascore
    • 50 David Sterritt
    Has moments of real visual creativity.
    • 21 Metascore
    • 25 David Sterritt
    Shallow and sentimental in the sappiest Hollywood tradition.
    • 21 Metascore
    • 50 David Sterritt
    The acting is weak, largely because many of the performers seem uncomfortable speaking English. The last half-hour works up a fair amount of action and suspense, though.
    • 21 Metascore
    • 25 David Sterritt
    Not even veteran talents like Dukakis and Scheider can surmount the artificial dialogue, arbitrary plot twists, and wan humor of this disappointing comedy-drama.
    • 20 Metascore
    • 25 David Sterritt
    Cumming's antic acting is the only asset of this boisterous comedy.
    • 20 Metascore
    • 0 David Sterritt
    The Griswalds drive to Las Vegas "because half the fun is getting there," but the fun never begins in this disappointing sequel to the Vacation slapstick comedies.
    • 19 Metascore
    • 25 David Sterritt
    8MM
    A private eye enters a horrific world of degrading sex and bottom-feeding pornographers.
    • 19 Metascore
    • 25 David Sterritt
    A lovestruck Californian kidnaps a neighbor's dog as a way of getting her attention.
    • 19 Metascore
    • 25 David Sterritt
    Sordid and sleazy, although the lead performances are hard to fault.
    • 19 Metascore
    • 50 David Sterritt
    Different viewers might find different portions worthy of anything from zero to four stars, but anyone with a faint heart or weak stomach should stay miles away from it. [24 Oct. 1997, p.13]
    • Christian Science Monitor
    • 19 Metascore
    • 75 David Sterritt
    In all it's a pleasant surprise if not a great comedy.
    • 19 Metascore
    • 25 David Sterritt
    What ensues is a Halloween-style blood bath accompanied by graphic sex scenes.
    • 19 Metascore
    • 50 David Sterritt
    There are a few amusing moments, helped by subdued performances from Affleck and Gandolfini, but this is no "Bad Santa" despite its obvious ambition to play similar holiday tricks.
    • 18 Metascore
    • 25 David Sterritt
    The slasher-movie genre may never die, but can't its perpetrators think up variations more clever than this by-the-numbers rehash?
    • 18 Metascore
    • 25 David Sterritt
    The acting is uneven and most of the romancing seems so mismatched.
    • 18 Metascore
    • 25 David Sterritt
    The junior Giannini, who has inherited Giancarlo's handsome looks, portrays his mercurial character with energy and flair. Madonna doesn't. Indeed, it's hard to remember the last time a certified celebrity gave a performance so monotonous, unimaginative, and all-around tiresome to watch.
    • 18 Metascore
    • 25 David Sterritt
    Perry and Hurley don't have much chemistry, and the story is so dumb you might want to sue it for stupidity.
    • 18 Metascore
    • 25 David Sterritt
    This boatload of clichés is strenuously unfunny.
    • 17 Metascore
    • 50 David Sterritt
    Often trite and predictable but grudgingly likable in the end.
    • 16 Metascore
    • 25 David Sterritt
    Everyone works hard, but the results are sadly short of style and personality or irony and intelligence.
    • 16 Metascore
    • 25 David Sterritt
    Preposterous plot, bad acting, and dialogue that provokes more laughs than shivers.
    • 16 Metascore
    • 0 David Sterritt
    Paying homage to drug comedies of the '70s, Half Baked is high on getting high and low on laughs.
    • 16 Metascore
    • 25 David Sterritt
    Adam Sandler's creative songs and silly expressions on "Saturday Night Live" may have turned him into a celebrity, but this movie based solely on his antics doesn't work.
    • 16 Metascore
    • 50 David Sterritt
    In its depiction of the Las Vegas nightclub scene and in its own cinematic strategies, the film is quite instructive about the intersection of sex, money, and entertainment in some areas of popular American culture. [29 Sept 1995]
    • Christian Science Monitor
    • 16 Metascore
    • 25 David Sterritt
    Hop away from this one fast!
    • 15 Metascore
    • 75 David Sterritt
    The thriller makes up in moody weirdness what it lacks in horror-tale originality.
    • 15 Metascore
    • 25 David Sterritt
    Downright awful.
    • 15 Metascore
    • 25 David Sterritt
    So stupid you'll wish you'd brought a duffel bag of your own.
    • 13 Metascore
    • 75 David Sterritt
    Be warned that the results are in aggressively awful taste from beginning to end.
    • 12 Metascore
    • 25 David Sterritt
    Fans of unregenerate underground moviemaking will have a ball.
    • 1 Metascore
    • 0 David Sterritt
    Pauly Shore is less a comedian than a class clown, and his dim-witted mugging makes Jim Carrey's antics seem creative triumphs by comparison. Vapid, vulgar, and more to the point, not funny.

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