A limited movie that can't animate its subject amid all the tricks and glitz. De-Lovely is devoid of life.

It's bad enough to make parable a four-letter word.

Mr. Sayle's portrait is painfully unfunny, and the movie as a whole is a plodding polemic.

Might have qualified as dumb fun if they hadn't left out the fun.

Disney's National Treasure is supposed to be family-friendly, a PG-rated action adventure free of hard violence and bad language. That's admirable, to be sure, but with a friend like this a family doesn't need sleeping pills.

Bad can't begin to describe Christmas With the Kranks. It's sub-humbug.

These people -- the filmmakers as well as the cast -- have brought a rare sense of camaraderie to their work. Unfortunately, they forgot to bring a script. They even forgot, in the midst of their joyous self-involvement, to take good pictures of the places they visited.

Must be seen to be believed, though I'm not suggesting you actually see it.

Guess Who is, impurely and simply, a comic premise borrowed, turned around and dumbed down to the level of sketch or sub-sketch humor.

The movie itself is grotesque, and may drive you nuts as it makes you laugh, mostly at the stupidity of the thing.

Why is the movie such a mess? Will Ferrell plays a washed-up actor who's supposed to be a hopeless mess, but even his character makes little sense. Is it all supposed to be postmodern? No, it's post-postmortem, the dead spirit of a dearly departed show.

The movie's smugness is insufferable.

If I could find some facet to praise, I'd be glad to do so, but the production's mediocrity is all-pervasive -- story, character, graphic design, even music -- and it all points to a failure of corporate imagination, or maybe just nerve.

Breakfast on Pluto, with an impressive cast that includes Liam Neeson and Brendan Gleeson, deploys its whimsy in many ways, all of them cloying.

The Producers is nightmarish, in its febrile way, a head-bangingly primitive version of an overrated Broadway show that grew out of a clumsy 1968 movie with an inflated reputation.

Even as a visual aid, though, The Da Vinci Code is a deep-dyed disappointment. Paris by night never looked murkier.

A deeply dreadful movie -- no, a shallowly dreadful movie -- that's too unpleasant and repetitive to be entertaining, even as camp.

It's not a good sign when a movie is called The Break-Up and you can't wait for the couple to split so they'll get some relief from one another, and give the audience some relief from them.

There isn't a milliliter of honest feeling from start to finish, and precious little comedy or romance.

Calling Joe Carnahan's movie heartless implies that this auteur of affectless anarchy might have meant to invest it with detectable human feelings, and failed. Better to call it heart-free.

The oddest thing about this very odd movie is that it doesn't seem to know what to make of itself.

Not to put too fine a point on it, Surviving Picasso is merely the worst movie ever made about a painter; worse movies have been made on other subjects, though none comes immediately to mind. [20 Sep 1996]

Mr. Scott's idea of making movies is to bludgeon or deafen his audience with every scene. In another line of work he'd be certifiable. [16 Aug 1996, p.A8]

The Loss of Sexual Innocence is a work of intransigent anger and barely relieved depression. [28 May 1999]

This is movie-making by and for dummies, a sappy little bible story, blissed out on its own ineptitude.

A deadly earnest and deadly dull psychological thriller.

Bee Movie isn't a B movie, it's a Z movie, as in dizmal.

You could make a case for this as a feature-film version of the FCC's fairness doctrine, but it feels more like a blandness doctrine, a pulling and hauling of the tone-deaf script, which is credited to Matthew Michael Carnahan, to the point of perfect vacuousness.

The kindest context in which to put Over Her Dead Body, which was written and directed by Jeff Lowell, is that of a training film, a public display of people trying to master their craft. The best way to see it is not at all.

Consider this more a consumer warning than a movie review: The Life Before Her Eyes will draw you in, then intrigue you, then bore you, then bewilder you, then make you crazy with its incessant flashbacks and flash forwards, and finally leave you feeling like the victim of a fraud.

Sorry excuse for political satire.

The best news about this clangorous clunker is that it may well have vanquished the Mummy franchise.

Elegance isn't Zack Snyder's bag; a certain sort of impact is. Watchmen establishes him as Hollywood's reigning master of psychic suffocation.

This time he (Martin) goes through the motions.

Motion is in copious supply -- a frenzied shootout at Manhattan's Guggenheim Museum grows interminable -- but the workings of the abstract plot are unfathomable, the characters are unpleasant and a couple of assassinations leave us as cold as the corpses.

A bizarre conflation of chick flick and "A Christmas Carol."

Amelia Earhart is still missing.

This sad excuse for family entertainment tries to enshrine a classic while defacing it.

Extraordinary Measures requires extraordinary tolerance for bathos, bombast and plain old unpleasantness.

The writing is semicoherent at best, and the buddies of this meandering road trip are not only mismatched but dislikable.

What's wrong with this sad fiasco goes far beyond its visual deficits.

The movie will surely find an audience, since it speaks to young people's anxieties about marriage and parenting. But what are two particularly engaging performers doing in a dump of a comedy like this?

Basically a theme-park version of a tawdry tradition.

I wanted to give this movie a fair shake, though I can't pretend to be an admirer of Ayn Rand's writing. But the movie, the first installment of a projected trilogy, doesn't give the book a fair shake.

Like most other members of an excellent cast that includes James McAvoy, Kevin Kline and Tom Wilkinson, she (Robin Wright) has come under the deadening directorial hand of Robert Redford.

How do I count the ways this movie goes wrong?

What was fresh and surprising in Las Vegas turns rancid and predictable in Bangkok.

J. Edgar, with Leonardo DiCaprio in the title role, is at war with itself, and everyone loses...Mr. Eastwood's ponderous direction, a clumsy script by Dustin Lance Black and ghastly slatherings of old-age makeup all conspire to put the story at an emotional and historical distance. It's a partially animated waxworks.

Sometime around what I guessed to be the one-hour mark in The Five-Year Engagement, I checked my watch and honestly thought the battery had given out. Five years doesn't begin to tell the interminable tale.

For better or worse, Woody Allen turns out a movie every year. Last year's "Midnight in Paris" was better than better; that is to say, sublime. To Rome With Love is worse than worse, as inert as its predecessor was inspired.

What I don't understand is why this extended piece of idiocy chose to sink its stinky teeth into our 16th president. If an axe-wielding hero was required, George Washington would have been the better choice, with the Redcoats as bloodsuckers.

Instead of biting wit, though, the movie settles for sketch humor, standard-brand raunch and toothless slapstick that trivializes everything it touches.

As juxtapositions go, regressed Goth rock star and Holocaust could hardly be more bizarre, and bizarre can be good when it's done deftly. In this case, however, it's done ponderously and sententiously.

By the end I could have used a Bulleit to the mouth.

The movie drills itself into our skulls, which are all too vulnerable to such an assault, though I must say my brain glazed over and my heart turned adamantine while the stupidities of this action thriller played themselves out.

Nothing but miscalculation from clumsy start to chaotic finish, an action thriller with a cynical, shriveled soul.

My Homo sapiens brain was boggled by the movie's clumsiness, while my heart was chilled by the chance that otherwise mature members of my species might mistake this disjointed botch for summer entertainment.

Adds up to one numbingly unfunny comedy.

The big news in Blade II is that there's something worse than vampires, but is there something worse than Blade II?

Ragging on Town & Country is like shooting a school of fish that's already belly up in a fetid barrel, but the movie's ineptitude is almost incomparable.

What they've done here goes beyond gross -- or clumsy, or dumb -- to genuine ugliness, both cutaneous and sub.

Built from an alloy of absurdium and stupidium, with the latter, heavier element dominating the mix.

This noirish, sourish thriller left me unmoving as well as unmoved.

Redefines the notion of a feature film another notch downward.

Lacks both taste and flavor.

Littered with low points -- lame comedy, dubious history, fumbling drama and a love story so inept as to make a pacifist long for war.

How could a movie with such likable actors be so deeply dislikable?

I must confess that I was outsmarted by the ending, but by that time my brain had been bludgeoned into a state just north of stupor.

Grindingly tedious.

Looks like the deformed spawn of a development process gone awry.

Sara is supposed to be an adorable screwball with a fatal disease. Ms. Theron certainly gets the adorable right. With a comic style that's close to unerring, she not only deserves better than this junk but the very best.

The worst would-be-big-and-Capraesque-but-actually-bloated-and-bloviating-beyond-belief movie of the year.

Certainly trashy, but, stripped of Mr. Diesel's services and directed by John Singleton, it's a no-go Yugo in muscle-car sheet metal.

A gross-out saga that sentient adults should avoid like the plague.

Too labored to be romantic and too derivative to be funny.

Downey is undone by a woefully amateurish production that, sadly and ironically, looks like a cheap TV show.

Timeline has negative energy to burn. There's even less of it by the end than at the beginning.

It's a terrible life, and a terrible movie.

The nadir of the movie -- or cheesy zenith -- is Ollie's sodden soliloquy, delivered in the presence of his baby, in which he laments the loss of her mother and his wife. All that's missing are the strains of Ravel's "Pavane For a Dead Princess."

A symphony for tin ears, a sniggering assessment of human nature delivered with the faux-lofty tone of a Lexus commercial.

This shabby enterprise gets so many things so wrong that it freezes your face into a cringe.

A pitiful shambles of a remake, The Stepford Wives might have qualified as a rethinking of the 1975 original if there were any trace of coherent thought in the finished product.

It's "The Sixth Sense" as nonsense, "Eternal Sunshine of the Spotless Mind" without the sunshine. Or the mind.

Huckabees is godawful, a mirthless, bilious bore in which the vividly focused fury of "Three Kings" has become free-floating anger at the follies of human existence.

Robert De Niro collects another stupendous paycheck for starring in another piece of exploitable junk.

Manages the dubious trick of being both execrable and boring.

It's a bad idea done disastrously.

Everyone in the film seems to be in solitary, thanks to Mr. Duchovny's stultifying style. If there was a single moment of spontaneity, it escaped me. Ditto for frivolity, though bogus poetry abounds.

The production can best be described by several f-words. It is frenetic, frazzled and febrile. It is also feeble -- almost touchingly so, if you think of what bottomless insecurity must have prompted so much bombast.

An abomination.

This cloying piece of claptrap sets a high-water mark for pomposity, condescension, false profundity and true turgidity -- no small accomplishment for the man whose last two features were the deadly duo "Signs" and "The Village."

What a botch. All the King's Men, a remake of Robert Rossen's classic 1949 film about the rise and fall of a Southern demagogue, has no center, no coherence, no soul and no shame.

Mr. Brooks manages to be deeply loathsome -- no small feat for a film that's shallowly amateurish.

Why, beating the audience about the ears, eyes and brain with essentially the same sequence of events from eight characters' points of view, none of which adds much more than deafening hysteria and identically dreadful music. The filmmakers seem to have missed the point that each re-enactment in "Rashomon" provides new and conflicting information. It makes you wonder if they studied the wrong movie. Maybe they rented "Rush Hour," or a video on Rosh Hashanah.

What Happens in Vegas... should have stayed in development -- forever. This ramshackle -- and occasionally repulsive -- farce doesn't even deliver on the minimal promise of its title; most of it takes place in Manhattan.

The Happening makes you wonder whether Mr. Shyamalan's own switch may have been flipped. How else to explain his film's befuddling infelicities, insistent banalities, shambling pace and pervasive ineptitude?

Given the importance of that subject, the real mystery of Mr. Lee's movie is why it's so diffuse, dispirited, emotionally distanced and dramatically inert.

Joyless and airless suspense thriller.

Wayne Kramer's interlocking saga of immigration in 21st-century America definitely crosses over, from workaday mediocrity to distinctive dreadfulness.

What's never explained is why anyone would do such a dumb remake of Robert Wise's 1951 sci-fi classic.

Mr. Smith's latest film is about nothing less than life and death, sin and atonement, and it takes the soggy cake for multiple layers of sentimentality topped by indigestible grandiosity.

It's unfunny at best and borderline-amateur at worst, notwithstanding the desperate efforts of Renée Zellweger.

Here’s the bad news: Brüno is no "Borat." Here’s the worse news: Brüno crosses the line, like a besotted sprinter, from hilariously to genuinely awful.

Whatever one may think of the overall style--I think it's ludicrous--Mr. Fuqua clearly wanted his film to be operatic, and so it is, in a tone-deaf way.

The dialogue is clumsy, the tone swings between somber and silly and the whole bizarre venture eventually succumbs to rigor mortis.

Real feelings lurk just below the surface--Samantha's terror of growing old, Carrie's fear of eventual tedium in a childless marriage. Yet the surface is where the movie stays, like an old submarine with dead batteries.

The source of this movie's energy is near-perpetual desperation. You can see it in Tom Cruise's fixed grin, and in the mad proliferation of unspecial effects.

This woefully botched mystery-adventure-thriller-caper-romance-comedy, or whatever it was meant to be, is no fun at all.

Mr. Cage's knight ends up playing second banana to a digital devil. Welcome to the January dead zone.

The film's only unqualified success is the end title sequence-because it's genuinely stylish, because it looks like it was shot in genuine 3-D and, most of all, because it's the end.

This tedious retelling of the venerable fairy tale-"Twilight" with Oedipal kinks-takes place in a medieval village that is plagued by a werewolf, and that looks like a shtetl settled by California actors.

Like Thor's hammer, this ersatz epic bludgeons its victims into submission. What's more, it requires them to stare at the source of their punishment through 3-D glasses.

Every now and then a movie's awfulness rises to the level of mystery.

How much do I loathe this film? A lottico is putting it mildico.

Let's give this ghastly studio comedy a Truthiness in Advertising award, if nothing else.

The production's penchant for contrivance is insufferable - not a single spontaneous moment from start to finish - and the boy is so precocious you want to strangle him. It's surely not the fault of Thomas Horn, the remarkable young man who plays him.

It's shrill in tone, awash in unexamined narcissism - kids are just pretexts for laughs, rather than objects of love - and afflicted by explosive verbal diarrhea. There's simply no base line of normal human activity, let alone intimacy, until the anticouple finally re-examines their anticommitment credo. By then everyone has been so selfish and dislikable that our commitment to the film is lost.

Hitchcock rings false from start to finish.

For anyone who remembers the "Die Hard" adventures at their vital and exciting best, this film feels like a near-death experience.

Alan Arkin does the best trick, bringing a dollop of humanity to the role of Rance Holloway, the magician who was young Burt's inspiration. Apart from Rance, the whole production is slovenly nonsense, photographed on the cheap with blaring ghastliness. Yet it poses an intriguing mystery. Did the producers appeal to a denominator even lower than common by making their film as dumb as possible, or did it just turn out that way?

Every now and then, though, a movie comes up with a scene of surpassing stupidity, and then builds from that defining moment to a climax of perfect ineptitude. Life or Something Like It is such an achievement.

All the same, it's a feat to find the lowest common denominator at 40,000 feet; View From the Top would be perfect as the first in-flight offering of the new Hooters airline.

An appallingly tedious Hanukkah comedy that must have bubbled up from the Porta Potti of his subconscious.

If Detroit had produced an equivalent lemon, we might have been seeing the world's first one-wheeled, square-tired car with no cooling system, steering wheel or brakes.

Designed as a disposable commodity, it's a film I'd dispose of with no further ado, except for what it says about minimum standards in a certain tacky niche of the movie business, as well as for what it suggests, in its lunkheaded way, about the perils that marriage may pose.

How could a major studio -- in this case 20th Century Fox -- put its name on a production with a dim-bulb, tone-deaf script that piles howler on howler? Why couldn't someone save poor Ms. Carey from herself?

This comedy is harmless, too, when measured against the vast array of harms that the world has to offer. It's also stupid, strident, witless, pitifully inept and bad for what ails you.

Every so often a movie transcends stupidity and soars into the empyrean of true idiocy. John Q. is such a movie.

Even in the month of January, traditionally a time for movie lovers to expect the worst, this cheapo feature, directed by Shawn Levy, takes the stale cake for witlessness.

Unlike "Dead Man Walking" and many honorable dramas before it, "David Gale" has nothing coherent to say about capital punishment, or anything else. It's a dead film lurching.

One of the strongest arguments yet for making sequels illegal.

The worst movie -- all right, the worst allegedly major movie -- of our admittedly young century. More stupefying follies may come, but it's impossible to imagine how they'll beat this one for staggering idiocy, fatuousness or pretension.

An abomination, impure and simple.

Nothing's alive in this trash-heap travesty of warm-weather entertainment, despite the frenetic pace.

Domino is a new definition of a snuff movie. It snuffs out every vestige of feeling.

Hate is too strong an emotion to spend on such a clumsy, bloodless broadside against human foibles in general and American follies in particular.

This film bespeaks a truly startling mistrust of the movie audience, and, what's more, a disrespect for the feature film medium. Yes, of course it was conceived as an unpretentious entertainment pitched mainly to girls and young women. Yet that doesn't explain the nightmarish quality of the finished product.

Wild Hogs, which includes a cameo by a live revenant from "Easy Rider," gives a bad name to carpe diem, but could have been worse; the trip might have started from Bangor.

Pay real money to see this feeble fiasco only if you're in the mood for "Groundhog Day" without the laughs.

Life is full of choices, and Halle Berry has made another bad one with Perfect Stranger, a perfectly off-putting thriller.

Certain words should be reserved for special occasions. "Abysmal" is one of them, and Georgia Rule is as special as such occasions get.

I found it insufferably fatuous and damned near interminable. [26 Jun 1998]

Metroland, which is adapted from a novel by Julian Barnes, is an oddly unpleasant variation on the theme of "The Way We Were." [09 Apr 1999]

The Americans are portrayed with varying degrees of loathsomeness, but there's not much variety in the film. It's all an awful aberration.

This joyless thriller runs the gamut from unconscionable through unwatchable to unendurable.

Jumper, based on the novel by Steven Gould, re-defines -- downward -- the notion of dreadful. It does so by dispensing with everything a movie needs for a shot at being merely awful. Dramatic development? None. Entertaining dialogue? Ditto. Internal logic? Puhleez. Intriguing characters? No characters, thus no intrigue. Interesting performances? Essentially none, though with an asterisk.

This toxic admixture of computer-generated frenzy and live-action torpor succeeds in being, almost simultaneously, genuinely painful -- the esthetic equivalent of needles in eyeballs -- and weirdly benumbing, like eye candy laced with lidocaine.

The road taken by The Love Guru could hardly be lower, and leads nowhere.

Any notions of demolishing black stereotypes -- and what else could have possessed Mr. Smith to do this? -- are dashed by the coarseness of it all, and by the narrative incoherence; a surprising plot twist turns a sloppy action-comedy into a totally different movie, and an even worse one.

There's a good subject for satire here, the extended adolescence of American kids. But satire presupposes maturity, or at least some perspective. The movie's calculation is that its subjects and audience share the same point of view. The results are truly ghastly.

As a PG-rated film opening on Christmas Day under the Disney banner, Bedtime Stories would seem to promise fairly wholesome family entertainment. What it delivers is the glitzy allure of a hotel setting, smarmy double entendres, Ferrari lust, Beverly Hills bling and pneumatic babes -- one of the characters is a surrogate Paris Hilton.

I have no idea how such shameless prattle found its way to the screen.

Jim Jarmusch's Dada meander, shot by Christopher Doyle, is empty and excruciating -- that's really all you need to know.

This dramatically, thematically and artistically bankrupt comic fantasy cost something in the neighborhood of $100 million to make and isn't worth the celluloid it's printed on.

Basically a soulless slasher flick, and one that demeans its gifted performers.

The filmmaker has delivered yet another iteration of what has become a classic M. Night Shyamalan film, only much bigger than before, and, as a consequence, mind-bendingly turgid.

I can't say anything nice about Flipped, a painfully clumsy adaptation of a tween novel by Wendelin Van Draanen.

No need to belabor the awfulness of this film, a romantic comedy devoid of romance - instead of chemistry there's the flow of reverse magnetism - and lacking in comic timing, let alone comic content.

The 3-D is cheesy (2.2-D at best) the gags are gross (Gulliver urinates on an 18th-century palace to extinguish a fire) and the production abandons all hope of coherence when the hero fights a climactic battle with a giant robot out of "Transformers."

Lest my own reaction be misconstrued, let me explain that I didn't like a single one of these insufferable narcissists, the kid included.

So you think you've seen silly? And smarmy? And inept? Wait till you see Wanderlust, though that's just a figure of speech; I'm not suggesting that you actually lay eyes on this naked grab for box office bucks.

Killer Joe is, at bottom - and I mean bottom - ugly and vile, not to mention dumb and clumsy.

This nasty little bottom-feeder of a film is too condescending to be trusted, too manipulative to be believed, too turgid to be enjoyed, too shameless to be endured and, before and after everything else, too inept to make its misanthropic case.

Jack Reacher, which Christopher McQuarrie directed from his adaptation of a Lee Child crime novel, is not just another dumb thriller. It's almost peerlessly self-important, weirdly incoherent and eerily smarmy. It's also mysteriously inept, considering that Tom Cruise plays the title role.

Watch the trailer, if you must, but spare yourself the full experience: Identity Thief steals time.

In addition to being borderline unendurable, Funny Games is inexplicable, and I don't mean in any philosophical sense.

Olympus Has Fallen is no fun at all. To the contrary, it soon grows tedious, odious and oppressive.