The most profound thing the remarkably dread-filled drama Day Night Day Night tells us is what it doesn't tell us.

The cast is really fine, but the script requires a lot of hard swallowing. The story moves along briskly and colorfully but gets further and further from the intimate atmosphere that initially makes it so appealing. [25 Apr 1997]

Not as bad as it sounds nor as good as it might have been.

A movie that commits sins of excess, except regarding Thornton. There's not nearly enough of him.

A goofball movie, in the way "Malkovich" was, but it tries too hard.

There's not enough sustained musical momentum to simulate the energy of an actual rave; the characters are likable but unremarkable.

This is a movie for younger children -- they won't notice that the children deliver their lines with all the conviction of an airline flight boarding announcement.

The assumption among many when the movie was postponed was that Paramount Classics felt New Yorkers weren't emotionally equipped for something bright or frothy or vivacious. They needn't have been concerned.

Proyas is trying simultaneously to create a pure thriller and sci-fi nightmare along with his tongue-in-cheek critique of artifice. And this doesn't work out quite so well.

Reitman's attempt to show he can re-create the success of his biggest comedy ever. What he proves instead is that, given time and money, a comedy director can devolve into a lower life form.

Follows a leadenly predictable path that will be more than familiar to anyone who's seen a recent sports movie, or any Sandler movie.

It only serves to remind one of better movies, at a time when one needs no reminders.

Does for industrialists, politicians, pro-football owners and lawyers what Christopher Guest's "Best in Show' did for dog owners -- but without the skewer.

The go-for-broke plot twists are daring, but because there's no sense of background to the characters, one gets the sense it's all being made up as Baigelman goes along.

Ultimately, Supercross is an example of how too much of anything will get annoying -- including VVRRRROOOOOOOMMM and flying bikes.

That this is the first film for director Joe Mantello, who was nominated for a Tony for directing the stage version, may be compounding the problem. But frankly, if someone wanted to do a parody of a gay film like this, it's hard to imagine the sloganeering being much different.

The only thing left unsliced is the ham in BloodRayne, yet another video game adaptation by German genre specialist Uwe Boll and a movie with more fading - or faded - talent than an Italian basketball team.

Stay Alive spends a lot of time inside the video game system, and what will terrify the audience very early on is the realization that there's better acting in the video game than on the big screen.

A sad farewell to the promising Project Greenlight concept, this Feast leaves viewers with nothing satisfying to tuck into.

The movie thus moves from truly creepy to truly inane, which is, unfortunately, all too common in films of this ilk.

The emotional aspects of the story are treated with such a heavy hand, the supernatural aspects are so vague and uninvolving, and the group dynamic is so unconvincing that one can't quite imagine why anybody bothered.

The voyeuristic indulgences of a middle-aged filmmaker playing out his most deep-seated and unresolved sexual fantasies and anxieties.

Has been described as a "midnight-style musical." And perhaps it should be seen that way, with a crowd of kindred knuckleheads and some moshing in the aisles.

So mild, so benign, its humiliation-to-vindication are so predictable and its old-folks jokes so feeble.

You have to be a bit of an arrested adolescent to think "Larry" is funny.

Redline isn't exactly a car wreck, mainly because it's far less exciting, and you can, in fact, look away. Perhaps at your shoes.

It's a movie on the wrong side side of the so-bad-it's-good line.

Spears acquits herself as well as anyone might, in a movie as contrived and lazy as this one.